Strange Bedfellows

Staid businessman Rock Hudson meets Bohemian artist Gina Lollobrigida and 24 hours later they're married. When they get out of bed, they quarrel about everything, so they separate. Seven years pass, and Hudson is up for a huge promotion, but his boss likes happily married executives, while Miss Lollobrigida wants to get divorced so she can marry Edward Judd. They meet to discuss the divorce, and they wind up back in bed, but soon begin quarreling over her latest cause.

It's one of the many romantic comedies that Hudson starred in the period, all of which had at their serious core the question of how marriage can survive with the growing power of women in the workplace. As such, it's hardly surprising that Gig Young shows up at the publicity man who tries to argue Hudson in a show of normal domesticity. Despite this being a Panama & Frank production (with Michael Pertwee helping out with the script), there's an aura of hysteria in the matter that makes it seem a trifle mechanical.

Rock Hudson had a few laughs at our expense, and noticing them is the best part of "Strange Bedfellows," a 1965 film directed by Melvin Frank and also starring Gina Lollabrigida and Gig Young. Hudson plays Carter Hansen, an executive about to move up in his company. He's been separated from his wife Toni (Lollabrigida) for seven years, and he's warned by Young that he has to be a family man if he wants the promotion. However, Toni has just asked for a divorce so she can marry Harry Jones (Edward Judd). Carter refuses to do anything about it; he can't tolerate Toni's activism for every cause. But when they see each other at the divorce lawyer's office, neither can resist the other.

This film is just okay - it kind of drags, though the end is quite funny. Someone on this board didn't think Gina Lollabrigida looked good - I thought she was gorgeous here. What's interesting is all the gay innuendo; at one point, Carter and Harry wake up in bed together. This isn't the only film Hudson appeared in with this kind of thing -- I think he and his various directors got a kick out of it. All of it would have been much funnier with a better script.

Unfortunately Hudson and Lollabrigida don't have any chemistry here, and this movie just doesn't have the wonderful spark of the Hudson-Day films or the personality and beauty of "Come September" since this movie was filmed at Universal and looks it. It comes off as kind of blah.

In London, businessman Carter Harrison (Rock Hudson) has a paint-tastic first meeting with Italian bohemian Toni Vincente (Gina Lollobrigida). The whirlwind romance results in their marriage after 24 hours. After the honeymoon period, the couple finds that they agree on absolutely nothing. They separate. After seven years, they decide to divorce. When they reunite, the fire in their relationship is rekindled.

I really like the opening premise of this fire and water relationship. As they whipsaw back and forth, I eventually lose my grip on them. I like them fighting, but I struggle with them overall. I can never be sure if I buy them as a couple. I am as confused as some of these characters. Rock Hudson is a little too straight in his performance. I can imagine this rom-com done much better.

This film will make you appreciate how well written and well directed the Rock Hudson/Doris Day romantic comedies were.

Hudson has a tendency to be stiff, but here it is worse than I've ever seen it. Gina Lollobrigida was 38 and possibly because her character is supposed to be a political activist, she doesn't wear much make-up. She looks rather plain and not glamorous, so it is a mystery why Hudson falls for her. If you're expecting the Italian sex symbol, Gina Lollobrigida, this is not the film. Gig Young plays the Tony Randal sidekick part to Hudson. Young is a good actor, but really is too handsome for the sidekick role.

There is no reason I can think of to watch this film, except for perhaps a short scene where Rock Hudson wakes up in bed with another man. Hudson is quite calm about it. Lollobrigida explains that he had no other place to sleep, so she put him in bed with Hudson. She asks Hudson if he minds. He answers that he doesn't mind. It is only because of what we know now about Hudson's sexuality that the scene is funny and sticks out. I an pretty sure that this is the only film where Hudson is in bed with another man.

The movie's 1950's puritanical tone destroys the sex comedy aspect. Since this was made in 1965, when censorship was ending, it is unfortunate that the producers didn't seek to take advantage of the new freedom. For example. Gina is a member of a group that supposedly supports artist's freedom of expression. The group has Gina ride nude on a horse like Lady Godiva to protest an artist's censorship. However Gina doesn't really go nude, but wears a flesh colored body stocking. This destroys the whole point of the protest and destroys any hope of the viewer seeing Gina looking sexy.

So, in summation, if you want to see Rock Hudson's dullest performance, Gina Lollobrigida's least sexy performance, and Gig Young as a bumbling sidekick, this is the movie for you.

In 1961 Universal had a popular success, Golden Globe winner I believe, with pairing Rock Hudson and Gina Lollobrigida in the comedy "Come September". In 1965 they attempted to recreate the magic with "Strange Bedfellows". Unfortunately this failure just goes to prove that scripts and characters are just as important as actors. Rock Hudson plays a conservative oil executive who impetuously weds bohemian artist Gina Lollabrigida. Given their incompatible natures they separate after a short marriage. Seven years later Lollobrigida wants a divorce to wed newspaper editor Edward Judd while public relations man Gig Young encourages Hudson to portray himself as a happily married man in order to get a big promotion. Hudson proceeds to re-kindle the flame with Lollobrigida, while Judd tries to disrupt the relationship by encouraging Lollobrigida's bohemian causes and thus embarrassing Hudson. The outcome of all this is Lollobrigida riding through London as Lady Godiva as a protest for one of her causes. The movie fails for a variety of reasons. Hudson's scene in bed with Judd might have some "camp" value but, although ungallant of me to say so, I've seen Lollobrigida look better. The character development is limited, with fundamentally incompatible pair coming together apparently without any change in character. None of the supporting players has any personality in the script. Gig Young does many scenes solo, supposedly on the telephone to Hudson's character, and could probably been written out of the entire movie. Judd's acting is unfortunately limited to putting a pipe in and out of his mouth. The producers obviously recognized these problems and brought in British character comedians (i.e. undertaker Terry Thomas and several taxi drivers) for cameos. Much of the Lady Godiva scene requires physical comedy which is not Hudson's and Lollobrigida's forte. As commented on by others the Hollywood backlog substituted for London is cheesy. By way of comparison I would note that Come September had strong support from old pro Walter Slezak, energy from a young Bobby Darin and Sandra Dee, beautiful Italian scenery and a coherent plot. Suffice it to say that "Strange Bedfellows" at 98 minutes seemed dreadfully long while "Come September" at 112 minutes whizzed by.