IMDb-BEWERTUNG
6,3/10
4206
IHRE BEWERTUNG
Irgendwo in Mittelamerika im Jahr 1907: Maria II. ist die Tochter eines irischen Terroristen.Irgendwo in Mittelamerika im Jahr 1907: Maria II. ist die Tochter eines irischen Terroristen.Irgendwo in Mittelamerika im Jahr 1907: Maria II. ist die Tochter eines irischen Terroristen.
- Regie
- Drehbuch
- Hauptbesetzung
- 1 BAFTA Award gewonnen
- 1 Gewinn & 3 Nominierungen insgesamt
Gregor von Rezzori
- Diogène
- (as Gregor Von Rezzori)
Carlos López Moctezuma
- Rodríguez
- (as Carlos Lopez Moctezuma)
José Ángel Espinosa 'Ferrusquilla'
- The Dictator of San Miguel
- (as José Ángel Espinoza)
Luis Rizo Casolo
- Strongman
- (as Luis Rizo)
Ramón Bugarini
- Minor Role
- (Nicht genannt)
José Luis Campa
- Scout Soldier
- (Nicht genannt)
Empfohlene Bewertungen
What was Louis Malle thinking about when he put forth this gem of a movie? It's a tale of comedic revolution in a fictitious country south of the border, and it happens to be led by a couple of gorgeous carnival entertainers, namely Bardot and Moreau. This French/Italian production is certainly off beat when the girls, leading their little band of performers have to finish a revolution begun by George Hamilton (listen to his voice in French!). A little anti-church, anti-establishment, a little strange, this film will delight the curious. And of course, Bardot is as cute as can be. Don't miss this one, for the delight of it all.
VIVA MARIA, a French-Italian co-production, is set in the revolution-torn Mexico in the early 1900s. Maria (Brigitte Bardot) - the daughter of an IRA operative - journeys to Mexico and meets up with her namesake Jeanne Moreau. Under the guise of circus/vaudevillian entertainers, they pursue their revolutionary activities around the countryside. The illustrious pair are captured but escape to fight with an enthusiastic peasantry to free San Miguel from its Spanish oppressors. Thoroughly entertaining and rollicking fun with spectacular visual action. Most of the film was shot on location in Mexico and the railway scenes filmed authentically on the 3ft gauge Interoceanic division of National Railways of Mexico. The featured steam loco is G-023 class 2-8-0 No. 66 (Alco 5209).
The main merit of the movie is the presence of Brigitte Bardot and Jeanne Moreau, at the top of their charm and beauty. The strip-tease scene is the only funny scene instead.
Apart from that and from a good cinematography, the film is quite boring. Louis Malle is one of the leading French "Nouvelle vague" directors, but here he deals with a big budget adventure -he doesn't work in his natural context.
The idea of two girls named Maria who carry on the Mexican revolution could be good, but gags and action scenes are not memorable. In many situations you can guess what is going to happen.
Obviously it's a movie made for exploiting the commercial appeal of the two gorgeous actresses.
Malle, Bardot and Moreau made much better things.
Apart from that and from a good cinematography, the film is quite boring. Louis Malle is one of the leading French "Nouvelle vague" directors, but here he deals with a big budget adventure -he doesn't work in his natural context.
The idea of two girls named Maria who carry on the Mexican revolution could be good, but gags and action scenes are not memorable. In many situations you can guess what is going to happen.
Obviously it's a movie made for exploiting the commercial appeal of the two gorgeous actresses.
Malle, Bardot and Moreau made much better things.
This vastly enjoyable romp features Brigitte Bardot and Jeanne Moreau at their loveliest as two saloon entertainers who (inadvertently) not only find themselves in the middle of the Mexican Revolution, but also invent striptease in the process! VIVA MARIA! sees Louis Malle return to the "anything goes" territory of his earlier success, ZAZIE DANS LE METRO (1960); here he is aided immeasurably by an engaging cast (which also includes Luis Bunuel regular, Claudio Brook and an understandably daunted George Hamilton!) and an impeccable crew (co-screenwriter Jean-Claude Carriere, cinematographer Henri Decae, composer Georges Delerue, assistant directors Juan Bunuel and Volker Schlondorff)! While the film is uneven in spots, the last half hour is a succession of hilarious sight gags which border at times, perhaps unsurprisingly given its credentials, on the surreal and the anti-clerical.
If I was asked what genre this film should be put in, I'd really struggle. I guess it's a Vaudeville black farce comedy musical which occasionally breaks into a spaghetti Western. The daft thing is that it kind of works. Bardot must surely be one of the most gorgeous women ever to grace the silver screen, you simply cannot take your eyes off her. Skimpy clothing, wild strawberry hair and a machine gun in her hand, you need a cold shower after watching this! I'm not sure that I believed her as being of Irish descent but was willing to forgive her anything. There are moments of sublime comedy and I don't think I'll ever trust a homing pigeon again. Not to be taken too seriously but great, great fun.
Wusstest du schon
- WissenswertesThis movie was the subject of one of two U.S. Supreme Court cases that led to the establishment of the MPAA Ratings Code. Upon the U.S. release of this "Viva Maria," the movie classification board of the city of Dallas, Texas, banned the movie within the city on the grounds that it was too racy. The American distributor sued - case title: "Interstate Circuit, Inc. v. City of Dallas (1968) - and, on 22 April 1968, won. In its ruling, the Supreme Court stated that censorship aimed at minors was okay, but censorship could not be applied to adults. On the same day, the Supreme Court handed down its ruling in a second case, titled "Ginsberg v. New York (1968)," which established that 17 years of age constituted adulthood in cases of censorship. The case involved a New York City luncheonette owner named Sam Ginsberg who was caught selling a "Playboy" magazine to a 16 year old in a NYPD sting operation. The Supreme Court ruled that if the boy had been 17 years old, then Ginsberg would have done no wrong in selling him the magazine. By combining these two rulings, the Supreme Court established the precedent that adult-oriented movies were acceptable as long as "no one under 17 is admitted without parent or adult guardian."
- PatzerThe Pound sign on the wanted poster has been placed after the figure. This is the French practice. In England it would be in front.
- Zitate
Maria Fitzgerald O'Malley aka Maria II: Rodolfo, come over here and meet my new partner. Oh, that's right, I don't even know your name.
Maria I: Marie Fitzgerald O'Malley.
Maria Fitzgerald O'Malley aka Maria II: Marie?
The Great Rodolfo: Mary?
Maria I: I'm not Mary. Marie.
The Great Rodolfo: Mary and Mary. That's splendid!
- VerbindungenFeatured in Kino Lust: Hollywood Comes of Age (1996)
- SoundtracksParis, Paris, Paris
Music by Georges Delerue
Lyrics by Louis Malle and Jean-Claude Carrière
Performed by Brigitte Bardot and Jeanne Moreau
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsländer
- Sprachen
- Auch bekannt als
- Віва Марія!
- Drehorte
- Tepoztlán, Morelos, Mexiko(village where Maria O'Malley goes out with three men)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 2.200.000 $ (geschätzt)
- Laufzeit2 Stunden
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1
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