Portmanteau films have traditionally provided producers with a means of enticing cinema goers with the prospect of seeing a few mini-films for the price of one ticket. Films of this type are generally better when there is one director throughout as opposed to several with totally different directorial styles.
Here we have director Anthony Asquith and writer Terence Rattigan capitalising on the very recent success of 'The V. I. P.s'. Although neither of these films is in the same league as their previous 'Browning Version' and 'Winslow Boy' Rattigan again shows his skill in writing for actors and Asquith his skill in directing them. Good writing of course makes good actors even better and the leading players here are not only better than good but possess indefinable 'star quality'. Rex Harrison's association with Rattigan went back to the stage production of 'French without tears' in 1936 and he was fortunate enough not to be Asquith's indescribably naff film version.
Following his Oscar for 'My Fair Lady' his films were a decidedly mixed bunch. He was never less than impeccable of course and continued to perform on stage to great effect. His role in this as the Marquess of Frinton is one of his best. His horse has just won the Ascot Gold Cup but discovering his wife, played by Jeanne Moreau, in the back of his newly purchased Rolls with her lover certainly takes the gilt off the gingerbread. By all accounts Harrison got on extremely well with Mlle Moreau and their scenes together are excellent.
This was always going to be a tough act to follow and the second segment pales by comparison. In films such as 'L'insoumis' and 'Monsieur Klein' French actor Alain Delon proved himself to be so much more than just a pretty face but in this he is required to be just that. Shirley Maclaine is utterly enchanting but this material is unworthy of her talents. George C. Scott projects his customary air of malice as a mobster.
Last but no means least we have the indefatigable Gerda Mallet played by the luminous Ingrid Bergman who helps Yugoslavian partisans during WW11 and falls for one of them played by Omar Sharif. There is an age difference of about twenty years but they are so good together it doesn't seem to matter.
One should also mention Roland Culver's turn as the butler in episode 1; Art Carney as the minder in episode 2 and joyous Joyce Grenfell as the companion in episode 3.
As far as I am aware the first 'anthology' film in which a car is used as a link between the stories of various owners is the excellent 'In jenen tagen' of Helmut Kautner from 1947. There could not be a greater contrast between these two films as Asquith's is designed purely to entertain and succeeds admirably in doing so. It has however become very much a 'period piece' and has not dated nearly as well as that of Kautner.
Here we have director Anthony Asquith and writer Terence Rattigan capitalising on the very recent success of 'The V. I. P.s'. Although neither of these films is in the same league as their previous 'Browning Version' and 'Winslow Boy' Rattigan again shows his skill in writing for actors and Asquith his skill in directing them. Good writing of course makes good actors even better and the leading players here are not only better than good but possess indefinable 'star quality'. Rex Harrison's association with Rattigan went back to the stage production of 'French without tears' in 1936 and he was fortunate enough not to be Asquith's indescribably naff film version.
Following his Oscar for 'My Fair Lady' his films were a decidedly mixed bunch. He was never less than impeccable of course and continued to perform on stage to great effect. His role in this as the Marquess of Frinton is one of his best. His horse has just won the Ascot Gold Cup but discovering his wife, played by Jeanne Moreau, in the back of his newly purchased Rolls with her lover certainly takes the gilt off the gingerbread. By all accounts Harrison got on extremely well with Mlle Moreau and their scenes together are excellent.
This was always going to be a tough act to follow and the second segment pales by comparison. In films such as 'L'insoumis' and 'Monsieur Klein' French actor Alain Delon proved himself to be so much more than just a pretty face but in this he is required to be just that. Shirley Maclaine is utterly enchanting but this material is unworthy of her talents. George C. Scott projects his customary air of malice as a mobster.
Last but no means least we have the indefatigable Gerda Mallet played by the luminous Ingrid Bergman who helps Yugoslavian partisans during WW11 and falls for one of them played by Omar Sharif. There is an age difference of about twenty years but they are so good together it doesn't seem to matter.
One should also mention Roland Culver's turn as the butler in episode 1; Art Carney as the minder in episode 2 and joyous Joyce Grenfell as the companion in episode 3.
As far as I am aware the first 'anthology' film in which a car is used as a link between the stories of various owners is the excellent 'In jenen tagen' of Helmut Kautner from 1947. There could not be a greater contrast between these two films as Asquith's is designed purely to entertain and succeeds admirably in doing so. It has however become very much a 'period piece' and has not dated nearly as well as that of Kautner.