L'orchidée noire

Martin Ritt was a very good director, but this film is not his best. Probably because the film was one of those he directed after being accused of being communist during the McCarthy's hunt. Two stars like Sophia Loren and Anthony Quinn together again for the second time (They were acting together in "Attila" 1954) made the film a good entertainment with a very happy end. Quinn's daughter is too egoist with his father because she does not want to share him with any other woman, and once noticed the new relationship with Sophia, a widow of a presumably maffia man, who also has a son sitting in farm school for children with problems of behavior. Sophia solved the problem Quinn had with his daughter (too simple way of solution) and Quinn was able to get the sympathy of her son and to take him back with them. I wish life could be like it was shown here, it was so simple and easy.

To this point in her American career, Italian actress Loren had starred mainly in big budget, Technicolor productions—e.g. Legend of the Lost, The Pride and the Passion, Boy on a Dolphin, (all 1957). Of course, such a format showed off her ample proportions for that mammary obsessed decade. I suspect this little b&w production was intended to help establish her as more than a sex goddess. And it does.

She's quite good in the de-glamorized role of an embittered working widow, Rose. Despite her resistance, she's being intensely courted by prosperous business man, Frank (Quinn). Trouble is Frank's daughter Mary (Balin), is very possessive of dad and also thinks Rose is undeserving of him. So Mary creates problems that jeopardize not only dad's engagement but also her own—to nice guy Noble (Richman). If this sounds like tangled relationships, it is, especially when Rose's delinquent son (Baird) is added to the mix.

Fortunately, the movie's well acted and directed (Ritt), which helps what turns out to be something of a soap opera. The first part comes across as mainly a character study as the hardened widow Rose fends off Frank's persistent gambits. However, once the relationships begin to spread and conflict, the screenplay takes on a more conventional tone. Also, looks like the movie was shot entirely on the Paramount lot. Thus, I expect they were able to squeeze it into her hectic schedule. Note too how subtly actress Loren expresses emotions with her eyes. That's probably something guys like me never noticed before.

Despite the obscurity in Loren's canon, the film works as an engaging showcase for the two leads, and is not without its moments.

At first , I saw it as a sort of refuge . Familiar actors, good script, old fashion romance , beautiful acting.

And a realistic obstacle front to a form of new chance to happiness for two single people after not easy experiences from past.

A film about love, neighbuorhood, attitudes and answers, difficulties and life in fresh aspects .

Sure, for so many reasons, the film of Sophia Loren and Anthony Quinn. But it is not honest or fair to ignore the supporting actors.

The main virtue of film, maybe wise mix of honesty and noble simplicity. A film who you feel it , scene by scene, against a sort of hurry to craft the romance. But, no doubts, a film who deserves be seen. Not only once.

Black Orchid, The (1958)

*** (out of 4)

Rose (Sophia Loren) is a young Italian woman who has just buried her husband who was murdered by the gangsters he worked for. Rose's depression soon takes another turn when her young son gets sent to a boarding school for breaking into parking meters. News gets even worse for her son after many attempts at running away, one more attempt will send him into a reform school where he won't get released until he is much older. With all the heartbreak going on, Rose spends her evenings alone making what money she can.

Down the street is Frank (Anthony Quinn), another widower who is getting ready to see his only daughter married. Frank is the type who keeps a smile on his face no matter how much bad luck life delivers him. When he first sees Rose he notices her extreme beauty but soon he becomes interested in the person that he has so much in common with. Rose finally drops her guard and the two become quick friends and soon start to fall in love but Frank's daughter, bitter with jealousy, refuses to let their relationship go anywhere.

Perhaps I missed something or the entire film went over my head but the back of the DVD case called this a sensitive comedy romance and a couple other film books I owned called this a bittersweet romantic comedy but I certainly didn't find any comedy in The Black Orchid. Why this film would be called a comedy is beyond me but it's certainly romantic in the sense of meeting two lonely people who must travel a hard road and learn tough lessons before seeing a greener field.

The movie has its heart in the right place, although near the end things start to tumble a little bit. The biggest key to the film is its two stars who both turn in wonderfully charming performances. Sophia Loren has always been known for her beauty, which is in pull blossom here but she also manages to be quite believable as the distraught widow trying to make good for her troubled son. Loren does a very good job during various quiet scenes where she must confront her past and she also fairs very well in her louder, bleaker moments where she's trying to push people away from her.

The key highlight to the film is Anthony Quinn who was an actor who never received enough praise for his work. Quinn gives one of the most charming performances I've ever seen in a film and this here really brings the relationship of all the characters together. No matter who he's sharing the screen with Quinn sells the viewer on each subject brought up and we can't help but want him to smile and be happy no matter what. Quinn features a certain grace that makes him appear to float through his scenes and this adds all the believability that a viewer will need.

They certainly don't have star chemistry like this any more and that's one shame when it comes to people refusing to watch older films. Director Martin Ritt (Norma Rae, Stanley & Iris) does a very nice job at holding the film together and not letting the melodrama become too thick, although his selection for the music score is really distracting. The score seems to be something from The Twilight Zone, which really isn't needed here. The biggest problem with the film is the forced, if cute, ending and some of the scenes with the daughter become very obnoxious and annoying. Other than that The Black Orchid offers two great stars the ability to shine and create a wonderfully quiet little film that has enough charm to make it worth watching.

An early effort by director Martin Ritt, "The Black Orchid" is an unconvincing melodrama about the romance between a widow and a widower. Each has a child that complicates the situation, although the widower's daughter provides most of the roadblocks to the couple's happiness. Filmed in black and white by Hitchcock favorite Robert Burks, the story is predictable and often frustrating and annoying. The widower's daughter, played by Ina Balin, evidently suffers from mental illness, although professional help is not sought. She locks herself in her room to protest her father's involvement with the widow, she walks out on her fiancé after he refuses impossible living arrangements, and she is obsessed with maintaining her hold on her father and his life. The character is unsympathetic, and most fathers would have put her on an analyst's couch, while most fiancés would have seen what the future held and walked out.

However, the film cannot be completely dismissed, because the widow is played by Sophia Loren at her most beautiful, despite a nearly all-black wardrobe, and the widower is played by Anthony Quinn, who is wonderfully appealing in a rugged lovable way. Physically and emotionally, Loren and Quinn make a fine pair, and their performances rise above the problematic material. Quinn particularly has a difficult time making his character believable. That such an imposing forceful man would allow his daughter to ruin his life is hard to swallow, especially when the happiness of the widow, her son, and his daughter's fiancé also hang in the balance. Loren is on firmer ground in a role that takes the actress from mourning a dead husband to the joy of newfound romance. Her strong performance foreshadows her later work in "Marriage Italian Style." Loren's famous eyes are on full display, and the actress seems wise and earthy beyond her years. Perhaps Quinn's performance was not acting, because who could fail to fall for Sophia.

The movie moves back and forth between sets and locations. Although the sets are well designed, their stagy nature is jarring when the action moves outdoors. Few actors stand out beyond the leads, except for a matchmaking neighbor amusingly played by Naomi Stevens. The screenplay by Joseph Stefano, better known for "Psycho," borders on soap opera and seems conceived for the stage. Like a well-oiled episode of "As the World Turns," "The Black Orchid" moves slowly to a predictable, if unconvincing, conclusion that extols the power of sausage, which is perhaps a symbolic key to the daughter's emotional problems. However, despite its flaws, the magnificent stars ultimately redeem the film and save it from the dustbin of Hollywood history. Unfortunately, Loren and Quinn no longer grace the screen, but fortunately their shadows linger and enhance even otherwise lackluster films such as this one.