La péniche du bonheur

Melville Shavelson's Academy Award-nominated "Houseboat" involves the common trope of "vivacious-but-goofy woman turns serious man's life upside down" (also seen in "Bringing Up Baby", "What's Up, Doc?" and "Something Wild"). But how can you not love seeing Sophia Loren onscreen? Cary Grant's State Department employee is the archetypal man from the 1950s: straightforward, always wearing a suit and tie, and expecting everyone around him to be as no-nonsense as he is. The '60s were a reaction to this attitude.*

Admittedly, a lot of the movie shows its age. Many of the family interactions are too cute for my taste. The movie's real joy is seeing Sophia Loren in some of those revealing outfits (well, as revealing as was allowed in 1958). It's not any sort of great movie, but enjoyable enough for its length.

Watch for Murray Hamilton (Mr. Robinson in "The Graduate" and the mayor in "Jaws") and Kathleen Freeman (the nun in "The Blues Brothers") in early roles.

*Tuli Kupferberg of The Fugs was of the opinion that there was always reason for optimism, because, as he put it, no one who lived through the '50s would've predicted the '60s.

Houseboat (1958)

It's crazy to write a review of a movie this old, with two legends, as if I have anything new to say. But that's exactly why it's worth my while. I watched it as a "Cary Grant movie" which is a category like a "Greta Garbo movie." And he's good, though there are no real sparks on screen between him and Sofia Loren, a substitute for Grant's wife of the moment, who wrote the original script. I think it ends up just a match of two screen beauties. The 1958 public liked it, at least.

It's weird how old Loren looks here—she's playing a 22 year old (she's 24 during the shoot), but her whole demeanor and hairstyle scream 30 or 40. Weird, because she's supposed to be a wild kid that her dad can't control. This matters because Grant plays an older man—an older father of three whose wife has died and who really needs a nanny. Loren's character becomes the nanny even though she's from a privileged family, mostly as an escape. Famously, Grant had been trying to woo Loren for months during their previous film, and he may or may not have gotten anywhere, but by this filming she made clear she wasn't interested, and even got married (to Carlo Ponti) while this one was being shot.

The plot is fun but the film is a bit plasticky. It's not as funny or clever as the old screwball days. Or as fast. The three kids are fine but barely—no great acting here, and no great direction either. Oh yeah, the director—Melville Shavelson—is not making the most of his material. He's more of a screenwriter (he co-wrote this) and there are some great lines. The direction is routine, however, which is a shame, because some scenes are clunky and others play out as if the script would do all the work.

Even the cinematography is merely adequate, though the sets and setting are great so you might not notice. The idea of using a houseboat (a real one in Maryland) is a great money saving device, no doubt, and it gives everything an offbeat air.

So it's all enjoyable if nothing remarkable, more or less typical of this low point in Hollywood movie-making. The best here is Grant, who still throws his classic one-liners off as if they were his. Too bad they echo out of sync with the rest of the cast.

'Houseboat' is a throwback to the kind of sweet, happy comedies Cary Grant did in the late '40s-early 50s, and it foreshadows the domestic comedies James Stewart and Henry Fonda would do in the sixties. Granted, there is more romance (and with Sophia Loren as the objection of affection, Cary has it all OVER Jimmy and Hank!) but ultimately, it scores as a terrific family movie, as Loren, playing an inept but adorable housekeeper/nanny, wins the affection of widower Grant's kids, and awakens in him a more complete love than he was experiencing with his society girlfriend (played effectively by the beautiful Martha Hyer).

Living in a rundown houseboat to save on expenses, Grant and his family's lives had become a boring routine, until the arrival of Hurricane Loren, with her Italian philosophy, her singing, and her unmistakable femininity and sex appeal (which introduces oldest son Paul Peterson to the joys of puberty, and to daughter Mimi Gibson and younger son Charles Herbert a mother-figure they both needed). Grant is at first oblivious to her charms, but she is hard to ignore for long! The question then becomes, when will Cary 'wake up', and realize everything he needs is right on the houseboat?

Filmed after Grant and Loren's whirlwind affair during the filming of 'The Pride and the Passion', the film was a bittersweet experience for both stars, particularly shooting the wedding scene, as Grant still desperately wanted to marry Loren, but she had already decided to remain with longtime love Carlo Ponti. Viewers aware of the 'behind-the-scenes' story will appreciate the performances of the two leads even more!

After you watch 'Houseboat', catch the flipside of this story in Grant's later 'Father Goose', as a drunken reprobate with a boat who must deal with governess Leslie Caron and her charges! The two films make a fascinating double-feature, and showcases Cary Grant's amazing versatility!

Seen either way, 'Houseboat' is a delight!

Widowed lawyer Cary Grant hires Sophia Loren to take care of his three kids and moves them all onto a houseboat. He believes Sophia to be a maid but, in fact, she's the daughter of a famous Italian conductor. Comedy and romance ensues. Cary does well with a character that's not really likable at first. He has great chemistry with Sophia, who pretty much owns the picture. She's sexy, funny, and charming. The three kids are played by Paul Peterson (of Donna Reed Show fame), Charles Herbert (13 Ghosts, among others), and Mimi Gibson (this is probably her best role). They're all good, particularly Herbert. Love his scenes with Sophia. Harry Guardino is a treat as the guy who sells Cary the houseboat after destroying their other house. Cary's then-wife Betsy Drake was originally set to star. Their marriage was on the rocks at the time, and he was having an affair with Sophia, so she wound up with the part. It worked out best for us as it would have been a far different movie with Drake, who had a pretty bland screen presence. It's a pleasant, enjoyable mix of romantic and family comedy. Nothing unpredictable or deep but good fun.

Cary Grant's devotees-and they are legion--will come to his defense even under the most trying of circumstances (I'm the same way with actors and actresses I admire). Grant's performances are often lovingly called "droll" and "relaxed" while I see them as unimaginative and one-dimensional. He's not at home on-screen so much as he inhabits the space he's in, and I unavoidably begin imagining different actors in his roles (consider Rod Taylor opposite Audrey Hepburn in "Charade"!). "Houseboat" is no exception, but it's a good movie. Grant is overanxious, as usual--and pushy or needling with the kids involved--but he's well-placed as a love-interest opposite Sophia Loren (whom he was dating just prior to the filming but not during). At first glance, "Houseboat" looks like the worst type of sitcom: stern father gets saddled with his estranged children, later hiring a governess who is really a runaway from high society. Grant plays the dad with consternation and suspicion (according to the script, of course, though Grant is typically like this). He goads his kids into being more than what he sees on the surface--and when his son finally pushes back, it seems an exceptionally realistic reaction. As for Sophia, who basks in her movie-star close-ups: she takes a cartoonish character (which is written like a cynical refugee from "Roman Holiday") and gives the lady a big heart. Her bonding with the children (and with Grant) is a treat and, while I wasn't convinced it would all work out happily, I was reasonably entertained. **1/2 from ****