69 reviews
Love Among The Ruins
"In a few years, a cut throat would be a blessing" that's what Karen Stone (Vivien Leigh) tells Paolo (Warren Beatty)letting us know that she sees her life in an inexorable descend into the unspeakable. Old age is the ultimate punishment for the vain and the selfish. Tennessee Williams dissects that theory with an expert hand. The depression that Vivien Leigh (magnificent, once you get over the wig) carries with her at all times is so pungent and vivid that when you see her smile you may emit a sigh of relief. She's looking for her angel of death and Warren Beatty really looks the part. So Italian in his childishness if not his accent that you understand why Mrs. Stone will let herself fall into his obvious trap, wouldn't you? The pessimism and the sense of tragedy - the most personal and embarrassing kind - leads us by the hand through this gorgeous, gelid journey through a life about to fade in a place, rightly know as the eternal city. Vivien Leigh is sublime looking into her terrifying future. Warren Beatty seems to fit perfectly the reason to go against everything you believe in. Lotte Lenya is great fun to watch and a wonderful villain if I ever saw one. Coral Browne looks enormous next to Vivien Leigh and as a close friend, she reminded me of Mame's closest friend, Vera Charles, the one who would tell you all the ugly truths. I must confess, I enjoyed it but I couldn't shake off the melancholia for days and days.
- littlemartinarocena
- Apr 7, 2007
- Permalink
The road to perdition
When her wealthy, older husband dies, an aging actress (Vivien Leigh) decides to retire and move to Rome. For some strange reason, she finds herself at a loss. She seems to have no interests - no hobbies. She becomes "fixated" on having sex with young men.
She is introduced to a "candidate" (Warren Beatty) by a procurer, Lotte Lenya. But Mrs. Stone (Vivien Leigh) is somewhat reluctant to begin a "liasion".
Eventually, she succumbes to his obvious charms. But their relationship is skin-deep - she provides the money, he provides the sex. Meanwhile, a filthy street urchin (Jeremy Spenser) has been following her. He is hoping to capture her attentions. "What do you want?", she cries out.
Eventually, Mrs. Stone loses her "boy-toy" - he becomes attracted to a much younger woman. And Mrs. Stone falls into the arms of the filthy street urchin. The film, which has many fine and memorable moments, is dominated - and weakened - by the parched performamce of Vivien Leigh, who seems to be struggling for air.
When she falls into the arms of Jeremy Spenser, you just know that the end is not far off. The film is basically a hard-hitting testimony to the inescapable fact that love for sale is not an beneficial enterprise for anyone - the buyer or the seller
Lotte Lenya's formidable, terrifying performance captures the forbidding soul of this movie.
She is introduced to a "candidate" (Warren Beatty) by a procurer, Lotte Lenya. But Mrs. Stone (Vivien Leigh) is somewhat reluctant to begin a "liasion".
Eventually, she succumbes to his obvious charms. But their relationship is skin-deep - she provides the money, he provides the sex. Meanwhile, a filthy street urchin (Jeremy Spenser) has been following her. He is hoping to capture her attentions. "What do you want?", she cries out.
Eventually, Mrs. Stone loses her "boy-toy" - he becomes attracted to a much younger woman. And Mrs. Stone falls into the arms of the filthy street urchin. The film, which has many fine and memorable moments, is dominated - and weakened - by the parched performamce of Vivien Leigh, who seems to be struggling for air.
When she falls into the arms of Jeremy Spenser, you just know that the end is not far off. The film is basically a hard-hitting testimony to the inescapable fact that love for sale is not an beneficial enterprise for anyone - the buyer or the seller
Lotte Lenya's formidable, terrifying performance captures the forbidding soul of this movie.
Blanche as a aging jet-setter
I love this movie and recently purchased the 2006 DVD version with accompanying 12-minute "analysis". The analysis features an interview with Jill St. John who admitted that not once during filming did Miss Leigh ever actually speak to her. Interesting. That certainly mirrors the relationship between Karen Stone, the aging and drifting actress, and Miss St. John's irritating bimbo-starlet character in the story. Yes - Beatty's accent is horrendous and distracting but otherwise, he captures the essence of a young Roman hustler. Lenya outdoes herself and is nominated for a Golden Globe and an Oscar for her performance as the procurer. But, Vivien Leigh IS this movie with her fading beauty/fame and related insecurities mirroring those of the title character. Miss Leigh's stunning early 60s couture by Balmain, the posh sets, and that baby-blue Lincoln convertible are wonderful props for a poignant and compelling tale of loss and the loneliness and desperation that can result therefrom.
By the way, I am conflicted and unsure about the finale of the movie. I presume that's what Mr. Williams intended.
By the way, I am conflicted and unsure about the finale of the movie. I presume that's what Mr. Williams intended.
Vivien Leigh Echoing Her Life At The Time
Read together the biographies of Tennessee Williams and Vivien Leigh, and you'll know why the depressing aspects of this movie are so realistic!! Vivien was, at the time the movie was made, going through her painful divorce from Laurence Olivier. In the middle of making the film, she had dinner with her beloved Olivier and Joan Plowright, at which time he told her that he was marrying Joan. Vivien had electro-shock treatments right after wrapping this movie. That desolate, soul-searing sadness in her eyes isn't acting!
Tennessee Williams features gigolos, procurers and prostitutes in many of his plays and this was no exception, although the 'action' is disguised by the high-faluting manners of the Countessa (the madam, who lives off the earnings of her 'boys'). You wonder how much Tennessee may have fashioned the play on Miss Leigh's life, as 'Mrs. Stone' is an actress past her prime, whose husband has just absented himself from her life (and his, as well). Williams exquisitely portrays the way we use one another for our own advantage, and Beatty (with a crummy Italian accent) does a great job of 'playing' the self-involved, narcissistic, money hungry Lothario. Once he hooks her, he delights in sadistically attacking her for her 'weakness' in loving him. Ever been there? At that time in his life, Beatty was playing a similar but more innocent role with almost every woman in Hollywood. He has matured well.
The writing was excellent, the scenery in Rome magnificent, but you will be so depressed after seeing this excellent movie that I suggest you also check out 'Bulworth' as a double feature to follow with. Beatty on two sides of his career is worth comparing: drama and comedy, villain and hero. I believe you'll have to say that Warren Beatty is an actor as well as a movie star.
Even though Vivien Leigh did not care for Beatty's arrogance while making this movie, she was able to turn the horror of her personal life into something constructive (as did Tennessee Williams), for which we the public should always be grateful. To make art from the ashes of a marriage----destroyed by death or divorce----- is something each of us would do well to learn.
For those of you with indomitable spirits, another Tennessee Williams film to see for comparison purposes is "Summer and Smoke". The interplay between the romantic leads is more equal, but both portray the sadness from Tennessee's sister Rose's life. She was a beautiful Southern flower, intimidated by her overbearing mother and alcoholic father, who wound up having a lobotomy (as did another sad victim /child of our nation's leading family). Tennessee paid homage to her tragic life in many of his plays, and these are no exception. Intelligent, beautiful but completely impotent at withstanding the aggression of those around her, Mrs. Stone is a prime example of a 'Rose by another name'.
Tennessee Williams features gigolos, procurers and prostitutes in many of his plays and this was no exception, although the 'action' is disguised by the high-faluting manners of the Countessa (the madam, who lives off the earnings of her 'boys'). You wonder how much Tennessee may have fashioned the play on Miss Leigh's life, as 'Mrs. Stone' is an actress past her prime, whose husband has just absented himself from her life (and his, as well). Williams exquisitely portrays the way we use one another for our own advantage, and Beatty (with a crummy Italian accent) does a great job of 'playing' the self-involved, narcissistic, money hungry Lothario. Once he hooks her, he delights in sadistically attacking her for her 'weakness' in loving him. Ever been there? At that time in his life, Beatty was playing a similar but more innocent role with almost every woman in Hollywood. He has matured well.
The writing was excellent, the scenery in Rome magnificent, but you will be so depressed after seeing this excellent movie that I suggest you also check out 'Bulworth' as a double feature to follow with. Beatty on two sides of his career is worth comparing: drama and comedy, villain and hero. I believe you'll have to say that Warren Beatty is an actor as well as a movie star.
Even though Vivien Leigh did not care for Beatty's arrogance while making this movie, she was able to turn the horror of her personal life into something constructive (as did Tennessee Williams), for which we the public should always be grateful. To make art from the ashes of a marriage----destroyed by death or divorce----- is something each of us would do well to learn.
For those of you with indomitable spirits, another Tennessee Williams film to see for comparison purposes is "Summer and Smoke". The interplay between the romantic leads is more equal, but both portray the sadness from Tennessee's sister Rose's life. She was a beautiful Southern flower, intimidated by her overbearing mother and alcoholic father, who wound up having a lobotomy (as did another sad victim /child of our nation's leading family). Tennessee paid homage to her tragic life in many of his plays, and these are no exception. Intelligent, beautiful but completely impotent at withstanding the aggression of those around her, Mrs. Stone is a prime example of a 'Rose by another name'.
Rather depressing...but well done.
In general, it seems that most big name actresses are loathe to admit that time has caught up with them. Too often, as they get older, the become vain about their age and often portray women MUCH younger than they really are. However, in the case of "The Roman Spring of Mrs. Stone", Vivian Leigh does something rather brave--she plays a woman who is about 50 (just like Leigh was at the time) and who can no longer play these young woman parts. And I can really respect her for playing a character who hits close to home, so to speak.
When the film begins, Karen Stone (Leigh) is starring in a play. The problem is that her character is just too young for this aging actress to play. Not surprisingly, the audience members think the same and instead of continuing, she decides to quit and take her husband to Italy. He's been ill and this is the perfect excuse to allow her to gracefully pull out of the play. However, on the flight to Rome, he has a heart attack and the credits begin. Soon you learn that he died on the flight and Karen is in this strange city...alone and grieving for her husband.
Because Mrs. Stone is so vulnerable, a horrid old lady has been grooming her--grooming her to be taken by a handsome young gigolo, Paulo (Warren Beatty). Slowly, Paolo insinuates herself into Karen's life and after a while, they become lovers. However, some possible problems occur--Paolo MAY be falling for her for real and Karen soon learns that Paolo has taken advantage of other women and is planning on doing this to her as well. Oddly, however, the relationship continues--even though his prey knows what she's getting into with him.
As I watched this movie, I kept wondering why they cast the characters like they did. Although Beatty did a good job as an Italian, why not just get a handsome young Italian actor?! Also, while Leigh was very good, why have her play an American actress--why not change the story to make her a Brit? I just cannot understand the producer's thinking in both these cases.
So is the movie any good? Well, yes. But you also have to have a very high tolerance for seeing a woman in pain and not mind how unrelentingly grim the story is. This isn't surprising, since it's a story from Tennessee Williams.
When the film begins, Karen Stone (Leigh) is starring in a play. The problem is that her character is just too young for this aging actress to play. Not surprisingly, the audience members think the same and instead of continuing, she decides to quit and take her husband to Italy. He's been ill and this is the perfect excuse to allow her to gracefully pull out of the play. However, on the flight to Rome, he has a heart attack and the credits begin. Soon you learn that he died on the flight and Karen is in this strange city...alone and grieving for her husband.
Because Mrs. Stone is so vulnerable, a horrid old lady has been grooming her--grooming her to be taken by a handsome young gigolo, Paulo (Warren Beatty). Slowly, Paolo insinuates herself into Karen's life and after a while, they become lovers. However, some possible problems occur--Paolo MAY be falling for her for real and Karen soon learns that Paolo has taken advantage of other women and is planning on doing this to her as well. Oddly, however, the relationship continues--even though his prey knows what she's getting into with him.
As I watched this movie, I kept wondering why they cast the characters like they did. Although Beatty did a good job as an Italian, why not just get a handsome young Italian actor?! Also, while Leigh was very good, why have her play an American actress--why not change the story to make her a Brit? I just cannot understand the producer's thinking in both these cases.
So is the movie any good? Well, yes. But you also have to have a very high tolerance for seeing a woman in pain and not mind how unrelentingly grim the story is. This isn't surprising, since it's a story from Tennessee Williams.
- planktonrules
- Nov 9, 2013
- Permalink
Beautifully Filmed and Acted - Cool As A Well-Chilled Negroni
- wmennisny-617-254276
- Aug 23, 2015
- Permalink
From Rome with Love
Introduced to a handsome young man during a stay in Italy, an insecure widowed US actress fights back her knowledge that the gentleman is just a gigolo in this Tennessee Williams adaptation starring Vivien Leigh in her penultimate big screen performance. Suffering from real life marital problems at the time, Leigh provides a performance with an air of vulnerability that rings true, but even better is Lotte Lenya of 'From Russia with Love' fame, cast here as the conniving 'countess' who introduces Leigh to her young suitor. Rambling on about the virtues of love and companionship, Lenya seems like a benevolent force at first, but as the film progresses and we see just how hell-bent she is on gaining financially from her matchmaking, she eventually seems almost as sinister as her better known Bond villainess. Promising as all this might sound though, the film is let down by never really igniting romantic sparks between Leigh and Warren Beatty as the young gigolo. Leigh never seems less than delusional to believe that he really loves her and Beatty only ever seems opportunistic. Beatty's awkward performance does not help matters though. He certainly looks the part, but with a faltering Italian accent, he never feels real whenever he opens his mouth. The main sell point of the film though is surely the dark and deliciously ambiguous ending. One exits the film really feeling like Leigh has suffered a personal blow and the uncertainty of her eventual fate is pitch perfect as she herself is unsure what the future holds for her by the end of the movie.
Anachronistic at Best; Tedious at Worst
There are three major problems here, and not just for millennial-era viewers: 1) Jose Quintero's emotionally numb direction, 2) Warren Beatty in a role he wasn't cut out for until ten years later, and 3) Tennessee Williams's severely dated high concept.
Quintero's lack of experience in film is evident. He was a stage director, and it shows here. The lines are spoken for the words to be understood from a distance. Quintero seems to have little sense of using the faces of the actors to convey anything in the one- or two-shots... save for what the estimable Ms. Leigh manages on her own.
Beatty's Paolo needed at least some of Richard Gere's Julian (in "American Gigolo") to make this fly, but either he had no sense of the character himself or Quintero got in his way.
William's book is a reflection of Williams himself as the title character. "TRSOMS" is Williams trying to work through the fear of his own histrionic narcissism too many years in advance of what he pictured aging to be for a "queen" rather than what it really is. He was only 38 when he wrote the novella, after all. Leigh's character is him, but only insofar as he could project a future that he had merely envisioned rather than actually experienced.
I've read plenty about Ms. Leigh's own struggles and supposed identification with her character. But if that is the case, I don't see much of it on screen, again, perhaps, owing to the wooden direction.
Younger viewers will have to interpret this as a "period piece." 1950 and 1960 are to them what the Victorian Age was to us: Anachronistic. The conflicting values expressed by the characters do not make much sense to those raised on either Lady Gaga or "Cougartown." Today's 48-year-olds "go for it" on the basis of peer-approval, not despite it.
Quintero's lack of experience in film is evident. He was a stage director, and it shows here. The lines are spoken for the words to be understood from a distance. Quintero seems to have little sense of using the faces of the actors to convey anything in the one- or two-shots... save for what the estimable Ms. Leigh manages on her own.
Beatty's Paolo needed at least some of Richard Gere's Julian (in "American Gigolo") to make this fly, but either he had no sense of the character himself or Quintero got in his way.
William's book is a reflection of Williams himself as the title character. "TRSOMS" is Williams trying to work through the fear of his own histrionic narcissism too many years in advance of what he pictured aging to be for a "queen" rather than what it really is. He was only 38 when he wrote the novella, after all. Leigh's character is him, but only insofar as he could project a future that he had merely envisioned rather than actually experienced.
I've read plenty about Ms. Leigh's own struggles and supposed identification with her character. But if that is the case, I don't see much of it on screen, again, perhaps, owing to the wooden direction.
Younger viewers will have to interpret this as a "period piece." 1950 and 1960 are to them what the Victorian Age was to us: Anachronistic. The conflicting values expressed by the characters do not make much sense to those raised on either Lady Gaga or "Cougartown." Today's 48-year-olds "go for it" on the basis of peer-approval, not despite it.
- rajah524-3
- Feb 6, 2010
- Permalink
Essential truths beneath the artifice.
Tennessee Williams' gift for exposing the heart and soul - the core - of human experience was so fine-tuned it transcended clumsy handling and Hollywood censorship. "The Roman Spring of Mrs. Stone" captures the essence of Williams' profound understanding. Even the film's missteps - the fake sets, the beige hair, Warren Beatty's Italian accent fail to detract. The surface artificiality contrasts with the underlying truths, making them that much more pronounced. In fact, the curious production values add another level of interest to the proceedings. There are lots of fine things about this film, which far surpasses the later television remake. Vivien Leigh's tortured persona brought added dimension to every character she played. Here she really "gets" what Mrs. Stone, and Williams, were about. Lotte Lenya's knowing performance remains timeless. Richard Addinsell's hypnotic score adds to the strange, foreign atmosphere. This is a rewarding, intelligent, entertaining film for thoughtful viewers. Obviously, it's not for every taste.
Vivien Leigh was still beautiful!
Despite a weak plot, the performances of Vivien Leigh (still looking beautiful) and Warren Beatty (also gorgeous) holds up, although Warren's Italian accent is rather unbelievable.
Warren Beatty is not Italian
Really enjoyed the film but was distracted every time Mr Beatty was on screen. I suppose he was hitting his stride in 1961 so 'they' had to use him in this film. I don't understand why some luscious Italian couldn't have been used instead. This reminds me of Meryl Streep's casting in The Bridges of Madison County. Awful. Use originals, not poor copies.
Vivien Leigh was superb in the film.....so I suppose I am contradicting myself as she played an American! Her pathos was on display completely. Lotte Lenya was wonderful as the Contessa. She devoured her scenes with aplomb.
It's interesting to watch movies where some of the actors are seamless and others try really hard. You notice the difference. Warren Beatty was clearly out of his league.
Vivien Leigh was superb in the film.....so I suppose I am contradicting myself as she played an American! Her pathos was on display completely. Lotte Lenya was wonderful as the Contessa. She devoured her scenes with aplomb.
It's interesting to watch movies where some of the actors are seamless and others try really hard. You notice the difference. Warren Beatty was clearly out of his league.
- johndietzel-234-684773
- Dec 8, 2011
- Permalink
Vivien Hypnotic
"Are you trying to--touch me, Contessa?" No one who sees Vivien Leigh on film can remain unmoved by her for long, if they are sensitive to beauty. Or pain. Despite whatever faults it may reveal to some, this film is a truly beautiful representation of the singularly tormented art of a hypnotically compelling actress. Watch her eyes in the introductory scene on the sofa, as she glances at the Contessa and her boy, over the smoke rising from her filter-less cigarette. Or at the villa lunch party--is anyone more graceful on screen with a fork and an awkward plate of food in their hands while managing to consume, register taste, swallow, and speak "sophisticated" dialog in the best postwar style, in a foreign (American) accent? Watch her in the café scene with Lotte Lenya's voracious pimp zeroing in on its prey: Leigh was tormented by the word "Beautiful"--friends and fans called her that to her face almost involuntarily, yet she couldn't tell them it drove her crazy, that her English convent school upbringing made that word synonymous with "shallow", at least to her way of thinking--but what other word describes her? Vivien Leigh casts a spell on all who see her, long after her death from tuberculosis in 1967. Oh, and the 1961 Lincoln convertible is as beautiful as any of the "Roman" scenery in the background; it is the perfect choice for Karen Stone's car.
Vivien Leigh in a great performance
- wisewebwoman
- Apr 18, 2004
- Permalink
It's parched...
Lugubrious adaptation of a Tennessee Williams short wants very much to be daring and adult, but comes off as tepid instead. Vivien Leigh is certainly well-cast as the recently-widowed, faded screen actress approaching fifty who, while residing in Rome, falls for a handsome gigolo. It's a slow, heavy-going soaper with extremely moody characters. Warren Beatty is pitilessly miscast as the Italian stud (though his wavering accent is good for a few laughs). The pacing does pick up after a deadly first hour, the cinematography is rich and the production has some sparkle, but otherwise there's no sting in this "Roman Spring". Remade as a 2003 TV movie featuring Helen Mirren in the lead. ** from ****
- moonspinner55
- Oct 15, 2007
- Permalink
Perhaps "The Roman Fall of Mrs. Stone" would have been too obvious a title.
- Poseidon-3
- May 27, 2009
- Permalink
Tennessee Williams adaptation
Vivien Leigh is an aging beauty living in Italy in "The Roman Spring of Mrs. Stone," based on a novel by Tennessee Williams. Director Jose Quintero took on the job of directing and he does a fine job with quite a cast, which includes Warren Beatty, Lotte Lenya, Coral Browne, Jill St. John, and Cleo Laine.
Leigh plays Karen Stone, an actress pushing 50 who travels to Rome with her elderly husband. Her husband has a fatal heart attack on the plane, and Karen doesn't return to the states. Instead, she stays in Rome and leases a gorgeous apartment. She is visited by Contessa Magda Terribili-Gonzales (Lotte Lenya) who, for a cut, pimps out gigolos to older women. Karen is hooked up with Paolo (Warren Beatty) and soon finds herself falling for him.
Vivien Leigh looks beautiful, but haunted, and she's perfect for this role, which dovetails her own life, as she Olivier told the manic-depressive actress that he was going to marry Joan Plowright around the time of the filming.
Warren Beatty doesn't have much of an Italian accent or, in my own opinion, much presence. He looks good, which is most important.
A very good, haunting movie.
Leigh plays Karen Stone, an actress pushing 50 who travels to Rome with her elderly husband. Her husband has a fatal heart attack on the plane, and Karen doesn't return to the states. Instead, she stays in Rome and leases a gorgeous apartment. She is visited by Contessa Magda Terribili-Gonzales (Lotte Lenya) who, for a cut, pimps out gigolos to older women. Karen is hooked up with Paolo (Warren Beatty) and soon finds herself falling for him.
Vivien Leigh looks beautiful, but haunted, and she's perfect for this role, which dovetails her own life, as she Olivier told the manic-depressive actress that he was going to marry Joan Plowright around the time of the filming.
Warren Beatty doesn't have much of an Italian accent or, in my own opinion, much presence. He looks good, which is most important.
A very good, haunting movie.
Lovely flawed minor masterpiece still looks good.
Pretend she's a man and it all makes sense
- ScenicRoute
- Jan 17, 2011
- Permalink
Xenophobic Swingers
This movie's reputation would lead you to believe it's a very bad movie. It's not. I was also willing to imagine it would be bad because 90 percent of Tenessee Williams output is such solidly over-the-top melodrama. This just barely escapes that fate and is entertaining, but Williams insistence on underscoring the morality here is still typical and tiresome. I had expected this scenario to be cleaned up and coded to please the censors. But the direct discussion of sex, pimps, gigolos, splitting profits, etc. is really startling and modern. Lotte Lenye, as a half-pathetic but not-to-be-underestimated pimpette preying on self-deluding older women, is amazing. She is almost assuredly a more provocative & interesting study than Karen Stone. She has no pretense of respectability except that which she performs to sustain the self-respect of her clients.
As a conflict, it remains unclear why Stone, a retired actress would think that a young stud could want her only out of love; other than that she wants it to be true. That's just not compelling or realistic enough for her to go to pieces over Beatty chasing skirts. What is interesting about the role is that there is no reason why a woman her age shouldn't feel free enough to explore her sexuality. Unless you consider 1950's conformism sufficient reason. It didn't stop Ingrid Bergman.
Beatty is funny and absurd when he's supposed to be ("Would you stop eating and concentrate on ME?") so he seems to be in on the joke (and I'm the least likely person to cut this himbo some slack), but really my quarrel is: why cast a handsome American when Italy is bursting at the seams with attractive young male actors who could have done more with the part? All Beatty could have achieved here is "Yeah he passed as Italian." Those stakes are not very interesting. And his caucasian, boy-next-door, Joe College looks just don't put me in mind of Italy in any way. His accent is sometimes passable but usually just provides titters. Let's just say that for 1961, it was an adequate effort. That notwithstanding, Leigh and Lenya still totally blow him out of the water.
Stage director Quintero really needed to abandoned his claustrophobic Italy set. It's almost believable as an exterior but when Leigh takes her final walk and passes every scene from the movie in about 5 steps... what's the point of location photography? Amazingly the soundstage lighting is occasionally believable as sunlight, which is almost never the case.
When it's not bold and interesting it's at least campy. There are a number of laugh-out loud observations, line-readings and Coral Brownes lipstick applied rather liberally is a hoot. Add this title to the ever-popular "Americans who meet with trouble in Europe" genre: Don't Look Now, Comfort of Strangers, Hostel, Zentropa.
As a conflict, it remains unclear why Stone, a retired actress would think that a young stud could want her only out of love; other than that she wants it to be true. That's just not compelling or realistic enough for her to go to pieces over Beatty chasing skirts. What is interesting about the role is that there is no reason why a woman her age shouldn't feel free enough to explore her sexuality. Unless you consider 1950's conformism sufficient reason. It didn't stop Ingrid Bergman.
Beatty is funny and absurd when he's supposed to be ("Would you stop eating and concentrate on ME?") so he seems to be in on the joke (and I'm the least likely person to cut this himbo some slack), but really my quarrel is: why cast a handsome American when Italy is bursting at the seams with attractive young male actors who could have done more with the part? All Beatty could have achieved here is "Yeah he passed as Italian." Those stakes are not very interesting. And his caucasian, boy-next-door, Joe College looks just don't put me in mind of Italy in any way. His accent is sometimes passable but usually just provides titters. Let's just say that for 1961, it was an adequate effort. That notwithstanding, Leigh and Lenya still totally blow him out of the water.
Stage director Quintero really needed to abandoned his claustrophobic Italy set. It's almost believable as an exterior but when Leigh takes her final walk and passes every scene from the movie in about 5 steps... what's the point of location photography? Amazingly the soundstage lighting is occasionally believable as sunlight, which is almost never the case.
When it's not bold and interesting it's at least campy. There are a number of laugh-out loud observations, line-readings and Coral Brownes lipstick applied rather liberally is a hoot. Add this title to the ever-popular "Americans who meet with trouble in Europe" genre: Don't Look Now, Comfort of Strangers, Hostel, Zentropa.
- onepotato2
- Jul 22, 2007
- Permalink
"Drifting" through Rome with Leigh and Beatty
I'll say flat out right at the beginning, that if you don't appreciate the talents of Vivien Leigh -- you will not like The Roman Spring of Mrs. Stone. This is her penultimate film, which was really made as a vehicle for her talents, without much of an ensemble cast and she's in nearly every scene. But the great actress is certainly up to the task of making this material work, although she is let down at times by contrivances of plot and other aspects of believability.
Taken from famous playwright Tennessee William's novella, the story concerns aging actress Karen Stone, who yearns to retire with her rich husband, who unfortunately expires while on their way to Rome for their extended getaway. Then the lonely widow starts dating a handsome young Italian guy who has an unusually close relationship with the sinister contessa who introduced them both.
Vivien Leigh as Karen Stone "drifts" through the movie, an ethereal presence that's nearly translucent, extremely delicate and cautiously mannered. The machinations of the plot allow her many opportunities to overstate or exaggerate, which is something Leigh never does. Many have said that this source material is kind of second rate Tennessee Williams, but even if true, Vivien Leigh's work here makes the very best of it in an engaging style.
And the movie has the added benefit of young future superstar Warren Beatty, making his second feature film. Needless to say, he looks fantastic, making it much more believable that Mrs. Stone would become so enamored with him. It's evident that Beatty clearly dove headfirst into an attempt to transform himself into an Italian gigolo. I find the Italian accent he attempted to be perhaps a little lacking at some points in the way of his hitting a few wrong pronunciations that sound artificial at very few and select times. Other than that minor detail, Beatty fills the role more than adequately, and his star power is in abundance.
And no small mention must go to fabulous Lotte Lenya (who scored an Academy Award nomination for best supporting actress in this), as this unctuous Euro-trash "contessa" who deals in romantic relationships usually for women of a certain class, age and wealth. She's extremely creepy, and look for a frightening scene set inside a cavernous discotheque where the camera follows Lenya slithering through the crowd, making her way to the fragile Mrs Stone. Every scene with Lenya is a highlight in this movie, and also see how her intense love for her pet cat is expressed in the way Lenya artfully handles the willing feline.
The Roman Spring of Mrs Stone, surely a "must-see" for devotees of Williams, Leigh, Beatty or Lenya, and anyone who enjoys colorful European settings, vivid characters and glossy romantic drama.
**** out of *****
Taken from famous playwright Tennessee William's novella, the story concerns aging actress Karen Stone, who yearns to retire with her rich husband, who unfortunately expires while on their way to Rome for their extended getaway. Then the lonely widow starts dating a handsome young Italian guy who has an unusually close relationship with the sinister contessa who introduced them both.
Vivien Leigh as Karen Stone "drifts" through the movie, an ethereal presence that's nearly translucent, extremely delicate and cautiously mannered. The machinations of the plot allow her many opportunities to overstate or exaggerate, which is something Leigh never does. Many have said that this source material is kind of second rate Tennessee Williams, but even if true, Vivien Leigh's work here makes the very best of it in an engaging style.
And the movie has the added benefit of young future superstar Warren Beatty, making his second feature film. Needless to say, he looks fantastic, making it much more believable that Mrs. Stone would become so enamored with him. It's evident that Beatty clearly dove headfirst into an attempt to transform himself into an Italian gigolo. I find the Italian accent he attempted to be perhaps a little lacking at some points in the way of his hitting a few wrong pronunciations that sound artificial at very few and select times. Other than that minor detail, Beatty fills the role more than adequately, and his star power is in abundance.
And no small mention must go to fabulous Lotte Lenya (who scored an Academy Award nomination for best supporting actress in this), as this unctuous Euro-trash "contessa" who deals in romantic relationships usually for women of a certain class, age and wealth. She's extremely creepy, and look for a frightening scene set inside a cavernous discotheque where the camera follows Lenya slithering through the crowd, making her way to the fragile Mrs Stone. Every scene with Lenya is a highlight in this movie, and also see how her intense love for her pet cat is expressed in the way Lenya artfully handles the willing feline.
The Roman Spring of Mrs Stone, surely a "must-see" for devotees of Williams, Leigh, Beatty or Lenya, and anyone who enjoys colorful European settings, vivid characters and glossy romantic drama.
**** out of *****
- mikhail080
- May 15, 2010
- Permalink
Echoes of Alberto Moravia
La Dolce Beatty?
A depressing Tennessee Williams' tale that is somehow still watchable --- in large part due to the excellent performance by Vivian Leigh. As a woman past her prime and feeling desperate for anyone, Leigh is stunning. This may not have been a stretch for Leigh since she was at the time passed her prime and at least desperate for a decent movie role. Her Mrs. Stone is sad, pathetic and lost. In other words, Blanche DuBois without the garish makeup and southern twang. The film's title may or may not be ironic...is it Mrs. Stone's spring? It's doubtful given the film's downbeat, ambiguous ending. Perhaps the Italian gigolo she gets involved with marks a new beginning for her? Jose Quintero's flat direction doesn't really dig too deep.
As the gigolo, Warren Beatty is awful. Affecting a very phony sounding Italian accent, he's almost campy. Lotte Lenya, as the contessa who pimps Beatty out is luckier...with her reptilian looks and creepy accent, she's decadence incarnate. Jill St. John is in it too, but doesn't contribute much beyond an unusually tall hairdo.
As the gigolo, Warren Beatty is awful. Affecting a very phony sounding Italian accent, he's almost campy. Lotte Lenya, as the contessa who pimps Beatty out is luckier...with her reptilian looks and creepy accent, she's decadence incarnate. Jill St. John is in it too, but doesn't contribute much beyond an unusually tall hairdo.
- JasparLamarCrabb
- May 3, 2006
- Permalink
This film ages like fine wine
Vivien Leigh plays the aging, isolated Mrs. Stone with a tragic grace and beauty that only she could bring to this exquisite, lyrical film of Tennessee Williams' haunting tale of the human need of permanence in a transitory world. (I remember reading Williams' Memoirs in which he says that this was his favorite film made from his work.) It is only now that I've attained Mrs. Stone's age that I've really come to understand the "drifting" that is portrayed here. Lotte Lenya is also brilliant in the role of the Contessa.Lenya was nominated for the Academy Award as "Best Supporting Actress" for this role, and she should have won. She is unctuous, smarmy, and brilliant. Vivien Leigh should also have been nominated, for her alienated, unfulfilled, sad ex-star. She gave another excellent performance-- an interesting bookend to her magnificent Blanche DuBois in A Streetcar Named Desire, the other of Tennessee Williams' "lost" ladies she immortalized on the screen.
"Three Or Four Years Is All I Need...After That, A Cut Throat Will Be A Convenience...."
Vivien Leigh was so brilliant portraying damaged-goods, faded beauty Blanche DuBois in the 1951 film adaptation of Tennessee Williams' "A Streetcar Named Desire" that it was perhaps inevitable for her to be asked to play another Williams character who's been beaten up by life, 10 years later. Thus, in 1961, Leigh--more damaged herself now after a recent split with Laurence Olivier following a 20-year marriage--appeared in the screen adaptation of the Williams novella "The Roman Spring of Mrs. Stone." In it, she plays Karen Stone, a middle-aged stage actress who has just suffered two major life traumas: professional retirement and the death of her much older, millionaire husband. She retreats to a villa above the Spanish Steps in the Eternal City to hide from the world and just "drift," and is soon romanced by a handsome young Italian man, Paolo di Leo (Warren Beatty). But what Karen only dimly realizes is that Paolo is nothing more than a lira-grubbing gigolo, working for an elderly pimp/procuress named Contessa Terribili-Gonzales (Austrian legend Lotte Lenya)....
Those viewers who come to "Mrs. Stone" expecting some kind of light romantic comedy, a la the Katharine Hepburn/Rossano Brazzi Venetian affair in 1955's "Summertime," will surely be surprised at how the film unreels. Despite the fact that it is a quiet picture, with a sad theme song that plays in a subdued manner only occasionally, it is nevertheless a dark and seedy one, featuring some truly unsavory characters. The scene transitions are often accomplished in a manner that beggars my poor powers of description, and director Jose Quintero gives a brooding, unsettling mood to this, his first picture, a great-looking one with sumptuous sets. Leigh, of course, is just marvelous--touching and sympathetic--here in her penultimate film, but the real surprise is how convincing Beatty is at playing an Italian, in his second screen appearance. Lenya is snakelike and sinister in her role, plotting the destinies of her victims with a purring cat on her lap, a la Ernst Stavro Blofeld; two years later, of course, Lenya would play opposite Blofeld (and that cat) in "From Russia, With Love." And speaking of future Bond alumni, "Mrs. Stone" also features fine supporting work from Jill St. John ("Diamonds Are Forever"'s Tiffany Case) and Paul Stassino ("Thunderball"'s Maj. Derval). Coral Browne, the future Mrs. Vincent Price, is well cast as Karen's school friend Meg (both actresses were born in 1913), and how great it is to see Ernest Thesiger ("Bride of Frankenstein"'s Dr. Praetorius) again, here in his final screen role! From its lengthy pretitle sequence to its eerie, ambiguous ending, "The Roman Spring of Mrs. Stone" manages to impress. As regards that ending, with the disillusioned Mrs. Stone tossing her house key down to the street ruffian who'd been stalking her throughout the film, Jill St. John, in one of the DVD interview extras, suggests that the thug is merely looking for a "soft berth," whereas Williams AND Lenya biographer Donald Spoto discerns something a lot more homicidal. I tend to concur more with Spoto here, but the matter is certainly open for debate. See the film for yourself and make up your own mind....
Those viewers who come to "Mrs. Stone" expecting some kind of light romantic comedy, a la the Katharine Hepburn/Rossano Brazzi Venetian affair in 1955's "Summertime," will surely be surprised at how the film unreels. Despite the fact that it is a quiet picture, with a sad theme song that plays in a subdued manner only occasionally, it is nevertheless a dark and seedy one, featuring some truly unsavory characters. The scene transitions are often accomplished in a manner that beggars my poor powers of description, and director Jose Quintero gives a brooding, unsettling mood to this, his first picture, a great-looking one with sumptuous sets. Leigh, of course, is just marvelous--touching and sympathetic--here in her penultimate film, but the real surprise is how convincing Beatty is at playing an Italian, in his second screen appearance. Lenya is snakelike and sinister in her role, plotting the destinies of her victims with a purring cat on her lap, a la Ernst Stavro Blofeld; two years later, of course, Lenya would play opposite Blofeld (and that cat) in "From Russia, With Love." And speaking of future Bond alumni, "Mrs. Stone" also features fine supporting work from Jill St. John ("Diamonds Are Forever"'s Tiffany Case) and Paul Stassino ("Thunderball"'s Maj. Derval). Coral Browne, the future Mrs. Vincent Price, is well cast as Karen's school friend Meg (both actresses were born in 1913), and how great it is to see Ernest Thesiger ("Bride of Frankenstein"'s Dr. Praetorius) again, here in his final screen role! From its lengthy pretitle sequence to its eerie, ambiguous ending, "The Roman Spring of Mrs. Stone" manages to impress. As regards that ending, with the disillusioned Mrs. Stone tossing her house key down to the street ruffian who'd been stalking her throughout the film, Jill St. John, in one of the DVD interview extras, suggests that the thug is merely looking for a "soft berth," whereas Williams AND Lenya biographer Donald Spoto discerns something a lot more homicidal. I tend to concur more with Spoto here, but the matter is certainly open for debate. See the film for yourself and make up your own mind....
Tennessee Williams rests on his laurels in mediocre tale of fading starlet rejected by gigolo