Hôtel international

Nothing has been spared, production wise, with THE V I P'S. They sure don't make them like this anymore. While the story is a bit of a soap opera, some of the acting is quite good for a film of this ilk. Elizabeth Talor and Richard Burton are so-so, as is Orson Welles and Louis Jourdon. Less of them would have made a better film. The Airport in London is fogged in and the story focuses on a few of the V I P'S. Love triangles prevail as well as money issues for most of the people. It's kind of a ala GRAND HOTEL of sorts. The best thing about the movie is Maggie Smith (a jewel of a performance) and the lush music. How nice to hear a reacurring theme which is no longer used in todays films. The DVD transfer is super and while I wouldn't want to own the film, it's a great rental.

When I was in my teens I well remember all the publicity surrounding Elizabeth Taylor, from her serious illness, to her Oscar for Butterfield 8, to the various problems with Cleopatra and finally all the kanoodling with Richard Burton. No film star before or since had the media attention the way Ms. Taylor did.

When Cleopatra was in its editing stages and there sure was a lot of footage to edit, the publicity was too good to take advantage. Taylor had been off the screen since 1960. I'm sure that Anthony Asquith the director had this project that became The VIPS in mind for some time while Cleopatra was still being shot.

It was all shot at Heathrow Airport so there were no sets to build so the money was spent on getting a top rate cast. Orson Welles, Elsa Martinelli, Dennis Price, Robert Coote, Michael Hordern, Rod Taylor, Maggie Smith, Linda Christian, Louis Jourdan and the Best Supporting Actress of 1963 Margaret Rutherford join Liz and Dick.

A bunch of VIP passengers are stuck at the airport due to fog and we see their stories unfold in a Grand Hotel style plot. Orson Welles is an extravagant producer and I'm sure he borrowed bits from Alexander Korda, Dino DeLaurentis, and himself in a very outrageous portrayal of a man trying to leave Great Britain before the income tax nails him. His tempestuous Italian star Elsa Martinelli figures in the solution to his problem.

And Welles figures in the solution to Margaret Rutherford's problem. She's an impoverished and widowed Duchess who is leaving her home to settle in Florida. She's bright and funny and her portrayal is very much like Helen Hayes who won a second Academy Award for playing a little old eccentric lady in Airport.

Taylor and Burton oddly enough have the weakest story in the film. He's a billionaire tycoon who's wife Elizabeth Taylor is running off with a playboy gigolo portrayed by Louis Jourdan. Burton is as offended as Orson Welles was in Citizen Kane when Susan Alexander was running away from Charles Foster Kane. It's his pride more than anything else. It's a humbling experience.

My favorite story in The VIPS occurs with Aussie businessman Rod Taylor who is the victim of a cash flow problem as a result of beating back a hostile takeover. Linda Christian is his socialite jetsetting wife and Maggie Smith his loyal private secretary. It's one of the few times Rod Taylor has ever played someone from his native country on screen.

Though Margaret Rutherford got an Oscar, in my opinion the best portrayal in The VIPS goes hands down to Maggie Smith. She is so touching as the prim and proper Ms. Meade who is crushing out big time on her boss.

The Burton-Taylor story intersects with the Rod Taylor story when Smith spots Burton at the airport and corners him for help on behalf of her boss. She explains Rod Taylor's problems to Burton and of course she doesn't know of the personal crisis he's going through. Their scene is the highlight of the film.

Richard Burton was later reported to say that when he saw the finished film and saw Maggie Smith with him on the screen that she was guilty of grand larceny for her scene stealing. He said it with a smile and chuckle in admiration for her talent. I think you'll agree with him.

It's a good film, The VIPS, filled with characters you become involved with though they are hardly likely to be ones you come in contact with in your daily life.

but a fascinating melodrama also. This was the first movie Liz Taylor and Richard Burton made as a married couple.

The story is by Terence Rattigan who apparently based it on a scene he observed in the VIP lounge of London Airport when Vivien Leigh made plans to run away with Peter Finch and was stopped by her husband, Laurence Olivier.

It is well filmed, way ahead of its time in certain segments where other minor characters are playing in the background of the scene, a continuum not employed in movies until the nineties (this was filmed in the early 60s).

Some of the script is a hoot, the fact that Liz and her lover are running away without ever having "made love". Richard and Liz both overact dramatically. But the cast make it well worth watching.

Maggie Smith is particularly vulnerable as a secretary, she is yet to find the acerbic edge that laces her subsequent movies. Margaret Rutherford is particularly good as a Duchess who has to go earn a living in America to save her stately home. More scenes with her would have been a treat.

7 out of 10, totally watchable and almost sinful in the enjoyment of same, it is just so deliciously shallow.

Much of the action focused on a romantic triangle involving a pampered wife, a wealthy husband, and a penniless playboy lover…

Liz once again is the neglected wife, comforting herself with a lover (Jordan)… When the destitute husband is threatened by his wife's departure who has given her diamonds instead of affection, Burton shows he cares… Liz, unyielding however; wants him to suffer…

Taylor's performance is cool and serene… Her face undisturbed by normal human expression… Playing an instigator of male insecurity, she is, for a change, altogether lovely to look at…

Maggie Smith plays the trusty secretary in love with her Australian boss Rod Taylor… Orson Welles's arrogant character provides the comic relief… Margaret Rutherford won a Best Supporting Oscar for her delightful role as the eccentric elderly duchess

The setting is London, and Frances Andros (Taylor), the wife of shipping magnate Paul Andros (Burton) says goodbye to her husband at the airport, where he thinks she is bound for Jamaica. After he leaves, it is revealed that she is meeting her new love Marc Champselle (Jourdan), a notorious international playboy who has fallen head over heels in love with her. Both are going to eschew their old lives and fly to New York, but are dismayed to discover that their plane is grounded due to heavy fog. Unfortunately, Frances has chosen to let Paul know about her plans via a "Dear John" note that she leaves at their house, and of course, Paul (influential in both money and power) comes back to the airport to demand his wife's return. Also inconvenienced by the fog is Les Mangrum (Taylor), an Australian businessman who has been fighting with a larger company for months to avoid a corporate takeover, and finally has the number of shares needed; until one of his associates turns against him and sells him out to the new company, forcing Mangrum to write a bad check on the share price difference. Thinking he can have another associate cover his check before the act becomes a bona fide felony, Mangrum knows that if he can get to New York in time for the board meeting everything will be okay, but the plane delay quashes all hope for this. Mangrum decides to spend one last night in London drinking champagne and living the high life with his trusty, loyal and prim secretary Miss Mead (Smith), who is secretly in love with him. Two other story arcs that aren't as prominent involve Max Buda (Welles), an acclaimed film director traveling with starlet Gloria Gritti (Martinelli) who finds himself forced into the position of marrying her, despite his obvious contempt, in order to save millions in taxes. And finally there is The Duchess of Brighton (Rutherford) an elderly eccentric who is flying to Miami in order to work on a project that will pay her enough to keep her large castle, despite the fact that she doesn't want to leave London. All of the above players are first ensconced in the airport's VIP lounge, and later, an airport hotel, where their personal dramas (and foibles) all play out and work themselves out, one way or another.

I had read an article about this film in Vanity Fair a couple of years ago, and it detailed various behind-the-scenes facts about the film, namely the burgeoning romance between Burton and Taylor, who were the Jolie/Pitt of their day, only on an exponential scale. Their chemistry in this film is very pervasive, and really add depth to both of their characters. Surprisingly, I found that Taylor and Smith had an enormous amount of synergy, most of it due to Smith's portrayal of Miss Mead as mousy, yet practically bursting at the seams with respect and love for Mangrum. Margaret Rutherford, who is a revered British stage and screen actress, won an Academy Award for her funny, yet slightly heart-breaking portrayal of a woman with a title and not much else. The only story line that I found obnoxious was the Orson Welles/Elsa Martinelli one. It contained so little depth and such a minimal amount of compelling moments that I found myself getting annoyed whenever I had to waste precious viewing time watching their story arc rather than being able to watch more of the other well-written, well-acted ones contained in the film. Admittedly, Orson Welles is a long-time hero of mine, and there were times when his sarcastic portrayal of the pompous director made me chuckle, but those moments didn't save his scenes in the slightest.

"The V.I.P.s" is as lush and colorful as a Sirk film, and Taylor is decked out in glamorous gowns and furs, but I was shocked to find myself really becoming wrapped up in the story lines and the acting, whereas I had planned on watching a fluff piece that had a bunch of attractive people enacting what would essentially be a soap opera with a multi-million dollar budget. Critics in 1963 expected to marginalize the film the same way I did, and were surprised (and not always pleased) to find that "The V.I.P.s" is actually quite a good film. A lot of the stars of the film had already done some of their most recognizable and lauded work by the time this film had been released, Smith would achieve a great amount of recognition within a couple of years, and Rutherford was at the tail end of her life, but all of them (with the possible exception of Welles and Martinelli, though I believe a lot of it was the material they were given) pulled together to make a film that is surprisingly compelling, very well acted and unfortunately, mostly forgotten. 7/10 --Shelly