Daisy Miller

Ms. Shepherd's fluttery, busy, yet essentially one-note performance undermines an effortful, well-pedigreed adaptation of a seemingly unfilmable work. The screenplay is nimble and witty, the photography lush, the locations dazzling, the supporting cast well-chosen -- how can anyone not respond to Mildred Natwick in anything? But it's all up to the star, and here, she's not up to it. Admittedly, Daisy is a shallow character, but a more thoughtful actress would give her more dimension (today, maybe, Gwyneth Paltrow could do it).

It's irresistible to consider the parallels between real life and reel life: The young Bogdonavich dotes on his leading lady as blindly as Barry Brown's character dotes on Daisy. But the poignancy is tempered somewhat when you consider that this nattering, uninteresting young lady would be absolute hell to live with.

I agree with the above comments. Miss Shepherd's simpering performance sabotaged what was otherwise a very good film. Subtle, amusing in all the right places and well-directed by Peter Bogdanovich. Unfortunately Bogdanovich was so taken with Cybill Shepherd he failed to see that she was wrong for the part. She is outshone by a brilliant supporting cast including Cloris Leachman as the weak-willed mother and Eileen Brennan as a spiteful society woman. Henry James has never transferred well to the screen; one thinks of the disastrous "Portrait Of A Lady" where Nicole Kidman was colourless as Isabel Archer. This is about the best of the movies adapted from James (perhaps with the exception of "The Heiress" which was an adaptation of "Washington Square") and it benefits from its' sumptuous location photography - it was filmed in Switzerland and Rome.

It almost feels mean to criticise Cybill Shepherd for being so unsuitable for this role, as she is so miscast. She plays the Daisy of the title, and is dull. When we first meet her, she's a pretty, spoilt, self-obsessed tease, and that's it. 90 minutes later that's still it. Barry Brown (Frederick) is, unfortunately, equally dull and one-note. Frederick chases Daisy, she teases him, and repeat until the end credits. That's a tough watch - especially when you've seen Ms Shepherd do it before, more concisely. Mr Brown has few expressions which give a hint of anything inside him that we may care to know more about. This film needed stars, or, at least, compelling character actors. The boredom is relieved by occasional flashes of melodrama in Eileen Brennan's eyes (but even they become repetitive), and some lovely photography, but the whole is empty of story, character, history, social milieu; even the dialogue goes on too much and is either commonplace or flatly rendered. There are moments of interesting observation, but there are scant. I shall read the Henry James story on which the film is based and try to work out what it was that the makers of this vacant film were striving for.

An adaptation of the novella by Henry James (by Frederic Raphael), this stars the lovely Cybill Shepherd as the title character. Annie P. Miller, a.k.a. Daisy Miller, is an American taking a tour of Europe with her dotty mother (Cloris Leachman) and her annoying, bratty kid brother Randolph (James McMurtry). Frederick Winterbourne (Barry Brown), a young man studying in Geneva, finds himself taken with her, but at the same time he's turned off by her outspoken, carefree attitude. In fact, Daisy does indeed set tongues wagging with her liberated ways in the high society of 19th century Italy. Frederick does try to talk some sense into her, but she won't be deterred from living life her way; she actually regards him as being something of a stiff.

Produced & directed by Peter Bogdanovich, this so-so film certainly *looks* great, with excellent set & costume design and use of locations. But it never really takes an emotional hold, at least not on this viewer. The cast, in general, is good: also appearing are the amiable Duilio Del Prete as the gregarious Mr. Giovanelli, Eileen Brennan as the disapproving Mrs. Walker, Mildred Natwick as Fredericks' similarly conservative aunt Mrs. Costello, and George Morfogen as the manservant Eugenio. Brown does a fine job in his co-starring role, but this adaptation can't overcome the miscasting of Shepherd. She's able to get out reams of dialogue in a breathless manner, shows some charm, and sings quite nicely, but she's simply not a good fit for this sort of setting or material.

The material does have potential as a portrait of irreverence and individuality in a time of strict manners and morals, but overall it doesn't quite hit the mark, despite the best efforts of the crew and supporting cast.

Six out of 10.

I strongly disagree with the limited, parochial, and dismissive comments of other reviewers' comments. Daisy Miller is a superb and literal adaptation of the Henry James novella. It is still a joy to watch and enjoy this period piece which is perfectly cast. I completely agree with Orson Welles that Cybill Shepherd was born to play Daisy Miller. Her performance is effortless and she aptly embodies Daisy in both looks and spirit. Bogdanovich was right on the mark with the casting of Ms. Shepherd. While it is true she was his girl friend at the time, it is also true that she was perfect for the role. Her interpretation involves rushing through the dialogue as if she couldn't wait for a response so she in turn could reply and in this case it is exactly what Daisy would have done. Cybill Shepherd was at the apex of her beauty and talent in Daisy Miller. She had just starred in three great American films-Last Picture Show, Heartbreak Kid, and Taxi Driver. Daisy Miller could easily be considered along with the three aforementioned film. When I am bored with high tech films, loud action adventure films, and post modern films, I often return with great pleasure to the sumptuous and beautifully realized Daisy Miller.