Lady L

I had stayed away from this film because the critics panned it so viciously. Serves me right, because it was absolutely wonderful from beginning to end. Ustinov punctuates the rich satire in the script just perfectly with his grandiose direction. The cinematography is lush, and Sophia is outrageously good, as the strongly principled woman ahead of her time, who sees and is amused by all the rich ironies of life. Cecil Parker gives the movie it's opening tone and it never misses a best. But the writing is the strongest single aspect of the work, always remaining true to its characters, while making pungent observations on UK moral codes, class struggles, the battle of the sexes, the institution of marriage, and many others. Enjoy! 10/10

In this charming romantic period piece directed by Peter Ustinov, Sophia Loren starts the movie off completely unrecognizable from her usual 1960s glamorous appearance. She's elderly with a padded matronly figure, wrinkles, white hair, and stooped posture. Her voice is wobbly and she barely recognizes her own family. When asked to tell the story of her life, she treats us all to a gigantic flashback.

A poor girl rises to the top in very unlikely circumstances. A laundress in a brothel, she meets Paul Newman when he's running away from the scene of the crime. He's just planted a bomb in a bank, and he seeks refuge by pretending his alibi was at the brothel. Since he's cute, she agrees to cover for him. The movie will have you think they fall in love, but if you're paying attention you'll see that she falls in love with him and he treats her like garbage. All he cares about is his anarchist rebellion and occasional bombs and assassinations. When Sophia meets David Niven, an extremely wealthy and powerful man, she tries to steal from him so she can pass the jewels onto her lover.

Why does she keep holding a torch for Paul Newman? The Niv is handsome, classy, a legitimate member of society, wealthy, forgiving, generous, and loves her. Paul is a scoundrel, a criminal, and cruel. Just as an example: The Niv gives Sophia an exquisite necklace, she lets Paul pawn it, The Niv finds out about it and brings it back from the pawnbroker to give to her for a second time, and Paul rips it off her neck and throws it to a homeless woman. How horrible is that? Adding insult to injury, the homeless woman is so shocked, she dies on the spot.

I love the comic touches of Peter Ustinov, and I can only imagine how much funnier the overall film would have been had he written the screenplay, too. Sophia is beautiful in the movie, and her comic timing is great. But why does Paul have to be so rotten? The Niv is sheer perfection, so how is there any contest? Watch the movie to see if you agree. You'll get to see some beautiful costumes and enjoy a couple of twists in the plot.

Viewing this movie after a 30-year gap, I realize I need to appreciate the movie as a Peter Ustinov film rather than as a Sophia Loren film. While Sophia Loren is a delight for the eyes with her hour-glass figure, she proves that she cannot act competently as an elderly lady--her hoarse voice is as phony as phony can be.

Ustinov and Romain Gary carry the film. I have had the good fortune to have met Ustinov as a film critic in 1984 and discussed the few films he had directed. He was delighted as a small boy that someone remembered that he was once a director as most people recall him as actor. Ustinov the director is a superb wit and his visual digs at French and Russian society are hilarious (Romain Gary, I guess, contributed to the verbal digs at the Poles). Ustinov and Gary do not even spare the British. The farcical comedy is at its best in the opening 15 minutes with some good camerawork and some fine, witty dialogues.

Ustinov is not a top notch director but he can provide sufficient material for the laughs to keep flowing. For instance, he does not show the face of Paul Newman as the car driver, but the audience can guess that the director is hiding a crucial fact. The brothel scenes, the escape in the balloon, the actions of the police, are orchestrated with admirable finesse for a director who is detailing a farce.

That Carlo Ponti allowed Ustinov to direct this venture is a credit to Ponti as the outcome was more rewarding for Ponti's wife Loren than for Ustinov for the average viewer. The French actors were superb: Phillipe Noiret, Michel Picolli, Claude Dauphin, Jacques Dufilho, and Marcel Dalio. Claude Dauphin stood out as the best among the range of French talent.

The images of a prince playing with a bomb as though it were a plaything reduces the farce to absurdist black humour as is the choice of the assassin's dress (a priest's cassock!). So is the coughing signals alerting members of the police force during a concert. It is fun that can be enjoyed at all levels--thanks to Ustinov and Gary more than due to the contributions of the formidable line-up of actors.

Ustinov has imbued this "sleeper" with an outrageously twisted sense of humour, and Loren celebrates every nuance of its irreverent edges. She is as marvelous as the ancient dowager worshipped by Cecil Parker as she is as the irrepressible Corsican laundress who falls for anarchist Newman but never loses her sense of the absurdity of man. What a treat!

Enjoyed seeing a very young Sophia Loren, (Lady L) and a very handsome Paul Newman, (Armand Denis) both playing unbelievable comic roles. Lady L is a woman who takes in laundry to make a living and visits a bordello to collect dirty clothes and meets up with Armand who manages to fall in love with her and it is not too long before they have a baby. Lady L finds that Armand is more interested in making a bomb and and joining a secret spy ring that wants to kill a nobleman in high office. Lady L meets up with David Niven who owns a great deal of money and wants to marry her even though she is already married to Armand. As soon as Lady L obtains fancy jewelry, Armand wants to give it to the poor like a Robin Hood of his day. There are flashbacks as Lady L recalls her past to a man who wants to write her biography, however, it is so immoral, he decides to change his mind. A real crazy comedy, but enjoyable from 1965, enjoy.