Ajouter une intrigue dans votre langueThe son of a successful Greek emigrant is torn between his father's expectations for him and his passionate love affair with a beautiful prostitute.The son of a successful Greek emigrant is torn between his father's expectations for him and his passionate love affair with a beautiful prostitute.The son of a successful Greek emigrant is torn between his father's expectations for him and his passionate love affair with a beautiful prostitute.
- Réalisation
- Scénario
- Casting principal
Leon Alton
- Nightclub Patron
- (non crédité)
Don Anderson
- Party Guest
- (non crédité)
Rodney Bell
- Parkson
- (non crédité)
Herman Belmonte
- Nightclub Patron
- (non crédité)
Eumenio Blanco
- Nightclub Patron
- (non crédité)
Herman Boden
- Nightclub Patron
- (non crédité)
Lulu Mae Bohrman
- Nightclub Patron
- (non crédité)
Nina Borget
- Party Guest
- (non crédité)
Paul Bradley
- Nightclub Patron
- (non crédité)
Avis à la une
Nick Stratton (Anthony Franciosa) has a 30 day furlough from the Army before deciding on re-enlisting. He returns home to San Francisco and falls for Giulietta Cameron (Gina Lollobrigida). His father Pete Stratton (Ernest Borgnine) is a self-made Greek immigrant construction tycoon. He is torn between his controlling father and his obsession with Giulietta who turns out to be a high class call girl.
I don't particularly like any of these characters and I don't have the joy of hating any of them either. Nick is annoying. Italian star Gina Lollobrigida is wasted on this melodramatic role. Ernest Borgnine is probably the most compelling actor in the cast. He and his son on the high beam is the most intense scene. The son is just too pathetic and I don't like the father either in this melodramatic mess.
I don't particularly like any of these characters and I don't have the joy of hating any of them either. Nick is annoying. Italian star Gina Lollobrigida is wasted on this melodramatic role. Ernest Borgnine is probably the most compelling actor in the cast. He and his son on the high beam is the most intense scene. The son is just too pathetic and I don't like the father either in this melodramatic mess.
I find it extremely hard to believe that no one who's seen Go Naked in the World has made the connection that it's a non-operatic version of La Traviata. It's based on Tom T. Charmales's 1959 novel, but it's a shameless copy of the famed story about a young man who falls in love with a prostitute.
Anthony Franciosa plays the young man, his strong, stern disapproving father is Ernest Borgnine. They come from a strict Greek background, and Ernie is just as tough, demanding, controlling, and larger-than-life than you'd expect any self-made man who wants the best for his kids. Yes, he's loud and challenging and impossible, but he also had to battle more in his life than his ingrate children have had to. He's earned the right to be gruff, and beneath it all, you can tell he's coming from a place of love.
Tony is too angry and youthful to appreciate his father's love, so rather than take a job at his extremely successful construction company, he slums it in an apartment and takes up with a beautiful prostitute, Gina Lollobrigida. He has no idea she's "the biggest call girl in town," but the audience knows it from the first scene. If you know La Traviata or Camille, you know how upset he'll get when he finds out. If you don't, you'll be extremely entertained by this heavy drama. There's an added twist to this movie that isn't present in the other stories, one that I happen to love and won't tell you about. You'll just have to rent it to find out why this particular version is so heavy.
If you rent this naughty, post-Code "romance", you'll see three very meaty performances. All three leads are given a lot to do, and they're all very convincing. Ernie certainly made good use of his Oscar, Tony broke free of his Italian-Burt-Lancaster-persona, and Gina was challenged most of all. She's given an enormous range in her scenes, so if you're a fan of the beautiful Italian actress, you're not going to want to miss this one.
Anthony Franciosa plays the young man, his strong, stern disapproving father is Ernest Borgnine. They come from a strict Greek background, and Ernie is just as tough, demanding, controlling, and larger-than-life than you'd expect any self-made man who wants the best for his kids. Yes, he's loud and challenging and impossible, but he also had to battle more in his life than his ingrate children have had to. He's earned the right to be gruff, and beneath it all, you can tell he's coming from a place of love.
Tony is too angry and youthful to appreciate his father's love, so rather than take a job at his extremely successful construction company, he slums it in an apartment and takes up with a beautiful prostitute, Gina Lollobrigida. He has no idea she's "the biggest call girl in town," but the audience knows it from the first scene. If you know La Traviata or Camille, you know how upset he'll get when he finds out. If you don't, you'll be extremely entertained by this heavy drama. There's an added twist to this movie that isn't present in the other stories, one that I happen to love and won't tell you about. You'll just have to rent it to find out why this particular version is so heavy.
If you rent this naughty, post-Code "romance", you'll see three very meaty performances. All three leads are given a lot to do, and they're all very convincing. Ernie certainly made good use of his Oscar, Tony broke free of his Italian-Burt-Lancaster-persona, and Gina was challenged most of all. She's given an enormous range in her scenes, so if you're a fan of the beautiful Italian actress, you're not going to want to miss this one.
When you haven't seen a Gina Lollobrigida film in ten years her beauty really hits you in the face. She's also decked in glamorous, slinky gowns that show off her beautiful figure. Borgnine drives a gorgeous 1960 Chrysler New Yorker convertible in the film.
Those are the only good things I can say about this movie. It us absolutely pointless. It is also boring and annoying. Franciosa overacts, Borgnine just yells and Lollo acts like she's doing everyone a favor by just appearing in the film. Well, actually, she is.
You aren't given the time to care about the characters or get any insights into their motivations. Its just a lot of yelling.
Those are the only good things I can say about this movie. It us absolutely pointless. It is also boring and annoying. Franciosa overacts, Borgnine just yells and Lollo acts like she's doing everyone a favor by just appearing in the film. Well, actually, she is.
You aren't given the time to care about the characters or get any insights into their motivations. Its just a lot of yelling.
Sick at home, I chose to watch this despite having no idea what this movie was about. Never heard of it before either.
First off, Bourgnine really got into the role of a domineering Greek immigrant architect. He spends quite a bit of time yelling at everyone. His scenes with Franciosa are very good and provided me with a reason to watch the whole thing. Lollobrigida is good but the scenes between her and Franciosa are gooey.
The plot is interesting as Lollobrigida's character is revealed to be a high-class hooker leading to Franciosa's character's very confused response and his confkict with his father who happens to be one of her clients. It could have been interesting but the movie opts for cheap moralizing at the end. I have seen the same ending in "bad girl tries to make good" movies from the 1930s.
The title is also a cheap attempt to get the male audience to think they might glimpse Lolabrigida nude at some point. Never comes close although there's a wild dissolve / montage that has an erupting champagne bottle superimposed over Lollobrigida face as she's clearly on her back. Hmmm.
You can skip it if it ever shows up again.
First off, Bourgnine really got into the role of a domineering Greek immigrant architect. He spends quite a bit of time yelling at everyone. His scenes with Franciosa are very good and provided me with a reason to watch the whole thing. Lollobrigida is good but the scenes between her and Franciosa are gooey.
The plot is interesting as Lollobrigida's character is revealed to be a high-class hooker leading to Franciosa's character's very confused response and his confkict with his father who happens to be one of her clients. It could have been interesting but the movie opts for cheap moralizing at the end. I have seen the same ending in "bad girl tries to make good" movies from the 1930s.
The title is also a cheap attempt to get the male audience to think they might glimpse Lolabrigida nude at some point. Never comes close although there's a wild dissolve / montage that has an erupting champagne bottle superimposed over Lollobrigida face as she's clearly on her back. Hmmm.
You can skip it if it ever shows up again.
I liked this film, which struck me as "Camille" in a modern setting with beautiful scenery and wardrobe in color and expressive music in the soundtrack.
The main similarity with "Camille" is the theme of "Redemption and Forgiveness" or the lack thereof with tragic results. Like Armand Duval in "Camille," the young man (portrayed by Anthony Franciosa) idealizes the exquisite young woman with whom he has fallen in love. To him, she is beautiful and innocent, and he wants a future with her. Then his father (Ernest Borgnine) reveals the ugly truth, that Giulietta is a high-priced call girl and that he and his middle-aged friends have been her clients.
The young man is confused, but he wants to forgive Giulietta for her past and help her make a new start by marrying her. They go away on holiday, but former clients (who are self righteous and who have an unforgiving attitude) come out of the woodwork and refuse to let Giulietta forget her past. As in Camille, the end is tragic, leaving the male characters to consider the parts (good or bad) they played in Giulietta's life.
The main similarity with "Camille" is the theme of "Redemption and Forgiveness" or the lack thereof with tragic results. Like Armand Duval in "Camille," the young man (portrayed by Anthony Franciosa) idealizes the exquisite young woman with whom he has fallen in love. To him, she is beautiful and innocent, and he wants a future with her. Then his father (Ernest Borgnine) reveals the ugly truth, that Giulietta is a high-priced call girl and that he and his middle-aged friends have been her clients.
The young man is confused, but he wants to forgive Giulietta for her past and help her make a new start by marrying her. They go away on holiday, but former clients (who are self righteous and who have an unforgiving attitude) come out of the woodwork and refuse to let Giulietta forget her past. As in Camille, the end is tragic, leaving the male characters to consider the parts (good or bad) they played in Giulietta's life.
Le saviez-vous
- AnecdotesAccording to studio records, this film failed at the box office, resulting in a loss to MGM of $1,462,000 ($12.1M in 2017).
- GaffesToutes les informations contiennent des spoilers
- Citations
Guilietta Cameron: You make me feel like being honest. And honest women have lonely nights. I don't want to be honest.
- ConnexionsReferenced in La becerrada (1963)
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Détails
- Durée
- 1h 43min(103 min)
- Rapport de forme
- 2.35 : 1
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