Hôtel du libre échange

While viewing an amply proportioned la Belle Epoc French "strip tease" artieste who performs over her audience's heads while on a trapeze, Mme. Cote notes that, according to the programme: "I says here 'she is the mother of three children and her husband is a professor at the Sorbonne.'"

Such delightfully histerical lines are just the beginning of the fun.

I first saw this during my college days when I was a projectionist at the local movie house in Rexburg, Idaho. I dispaired of ever seeing it again. When I finally found it on VHS I was in (not on) ecstasy.

I really struggled to enjoy this... Despite the great casting, it just seemed to border all to frequently on the wrong side of farce for me. Basically, it all boils down to poor old Alec Guinness ("Boniface") stuck in an unhappy marriage with the formidable "Angelique" (Peggy Mount). This couple are neighbours to "Marcelle' (Gina Lollobrigida) who is married to "Henri" (Robert Morley), a husband who largely leaves her to her own devices. When "Angelique" goes to see her poorly sister and "Henri" has to go away for work - "Boniface" proceeds to confess his long-held, undying, love to "Marcelle" and suggests they decamp to the eponymous establishment for an hour or two's entertainment... What ensues now is a semi chaotic collection of almost slap-stick encounters that are frenetically paced, with relentless dialogue and more parallel themes than I could really be bothered to keep up with. Lollobrigida looks every inch her part, and Guinness is quite engaging as the rather ingenuous "Boniface" but the rest of it is just too shambolic for me. Looks great though, lots of great costumes, sets and vintage cars.

In order to fully appreciate Hotel Paradiso, you're going to have to know it was based off a French play. If you didn't know that going in, you'd probably turn the movie off before the "weekend in the country" began. Now that you know it's based off a French play, you'll be expecting a wacky comedy of errors.

Within a block of houses in a Parisian town in the 1900s, there are quite a few couples having trouble. Gina Lollobrigida is married to Robert Morley, and she's upset that he always leaves her to go to work. Alec Guinness hates his wife, Peggy Mount, and he overhears Gina declaring she'll throw herself at the first man she comes across, just to get back at her husband. Through a series of fast-talking coincidences and awkward planning, Gina and Alec make plans to spend the night at the same hotel that Robert has been hired to inspect. Peggy is also staying at the hotel, to indulge in her secret double-life, and Gina's nephew is enjoying a rendezvous with a lowly maid. A houseguest Alec turned away is also seeking shelter at the hotel, so you can bet it's going to be a very busy evening.

Hotel Paradiso is a like-it-or-lump-it kind of movie. If you like these types of wacky sex comedies, you'll be wiping tears of laughter from your eyes. If you don't, you might not make it all the way through. To each his own, and while it wasn't my favorite comedy of the month, I can understand how much funnier it would have been to watch it unfold in a theater.

Georges Feydeau was the master of French farce. In 1957, British director Peter Glenville brought his London adaptation of one of Feydeau's best to Broadway's intimate Henry Miller's Theatre for 108 successful performances with an all star cast that included the great Bert Lahr and Angela Lansbury.

Nine years later, the same Peter Glenville brought his superb adaptation to the screen for MGM with Alec Guinness in the Bert Lahr role and Gina Lollorigida bringing her all too seldom seen comic timing (check out her wonderful 1961 boulevard comedy "Come September" with Rock Hudson and Walter Slezak) to the Angela Lansbury role. Even Broadway cast member Douglas Byng (as Martin, a barrister) was along for the fun.

Of COURSE the plotting is "strained" - that is virtually the definition of farce - but the laughs flow without reservation.

Americans don't often get to see good European style farce which relies on situations, intellect and language as much as physical comedy. When we DO get a great farce like "Arsenic and Old Lace" or Noises Off", it is usually devoid of all sexual content - as if sex (not dirt, but good clean sex with all the ironies and insecurities attendant) weren't among the greatest sources of farcical situations.

Glenville gives us Feydeau at his most elegant - which is to say unashamedly sexual (with would-be adulterous spouses, potential lovers and innocents in a waltz of slamming doors and crowded corridors at the titular hotel), at the same time keeping the proceedings intrinsically moral and (for those foolish enough to care) absolutely clean.

The Belle Epoche settings fairly sing with civilized delight, and the brilliant farceurs like Robert Morley and Derek Fowlds (later known for his third lead in the brilliantly observed "Yes, Minister" and "Yes, Prime Minister" TV series) join the leads in a collective tour de farce.

Watch for Glenville himself in the unbilled role of Feydeau, observing and "writing" the proceedings, but by all means watch. This is all a stage to film transfer should be. You'll have a lovely time and feel the better for it.

Yes, Fellow User, most of us are quite aware of the definition of "farce." The French are certainly known for their "farces," ahem, but they have never appealed to me - neither France, nor farce.

Certainly, the film displays great production values, and fine acting, but unless you truly love the genre, the interest level grinds to a complete halt by mid-point. Why it supposedly requires great intellect to comprehend the "farce," I'll never know. Add Tootie and Blair, and you have "The Facts of Life Goes to Paris." I'll take good, solid repartee between Hepburn and Tracy any old day. Silliness simply does not suffice.