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This film is pretty good, but it was a flop in 1967 despite having some good performances by Rex Harrison, Clift Robertson, Susan Hayward, Capucine, Edie Adams, and Maggie Smith. The script and direction of Joseph Mankiewicz were perfect. But it flopped, possibly because the times did not call for a literate murder mystery film.

It's lineage is impeccable since it begins with Ben Jonson's classic Jacobean comedy "Volpone". But actually it is not "Volpone". The film is based on Thomas Sterling's "The Evil of the Day". The story has been changed in one way. Sterling's novel brings together three would-be heirs too, but two are men, and one is Fox's wife (as in the movie - Susan Hayward's role). But the same plot switches go on in the novel as in this film.

I enjoyed the movie, in particular one moment that was rare to see in any film of that period. Harrison has invited his three would-be heirs to come to dinner. Hayward (accompanied by her secretary Smith) comes in first. While they are talking to Harrison and Robertson, both Adams and Capucine show up at the doorway. Neither is willing to let the other go in first. They end up pushing into each other through the door frame into the dining room, thoroughly uncomfortable - but at least neither was forced to wait for the other to make the first move.

This is a very good film adaptation of a story that has had a number of permutations. The original source of the story dates to British poet and playwright Ben Jonson's (1572-1637) satirical play, "Volpone." Thomas Sterling's "Evil of the Day" was a 1955 novel, and playwright Frederick Knott then adapted that source into the play, "Mr. Fox of Venice."

The theme of the original work is carried through all the renditions of the story. It's a biting satire on greed, with a complex staged practical joke as the main plot. The comedy isn't of the rollicking laughter type, but in the exaggerations with the drama and the characters themselves. Most of the characters of the Ben Jonson play are carried through all renditions, except that in the 20th century story the three characters of avarice are women instead of men.

Director Joseph Mankiewicz does a masterly job of adapting and then directing the story, with an introduction and closing comments in voice over by the main character, Cecil Fox. He uses this technique very subtly for one other character toward the end. Another reviewer delighted in what he called the "Maltese Falcon" ending. It is fantastic in itself.

The film was made mostly in Rome, with some canal scenes shot in Venice. The producers assembled a first-rate cast to play the diverse roles. All give performances worthy of academy award nominations. Rex Harrison is superb as Cecil Fox, and Susan Hayward dominates her scenes as Mrs. Sheridan - Fox's "Lone Star" mistress from the past. Cliff Robertson adds enough mystery to his dutiful and slyly charming role as William McFly. A nearly 40 Capucine still radiates the sophisticated beauty for which she was known, here playing Princess Dominique. And Maggie Smith shows for the first time on film her deftness for deadpan humor. Her nurse Sarah Watkins is both demure, suspicious and slightly sly.

Adolfo Celi is very good as Inspector Rizzi, who plays some scenarios superbly for comedy. The scenes in his home are hilarious where his family members are glued to the TV watching a Perry Mason mystery show. The Italian voice-over for Raymond Burr's Mason is hilarious - a high-pitched male voice coming out of the tube when Perry speaks.

But the star who provides most of the laughter in "The Honey Pot" is Edie Adams. She plays Merle McGill, an otherwise attractive movie star who, underneath, is little more than a ditzy blonde and opportunist. She was someone Fox picked up off the street years before and turned into a movie icon.

Here are some favorite lines form this film.

Inspector Rizzi, "Miss McGill, I understand the necessity of you to arrive in Venice incognito." Merle McGill, "I wouldn't go anywhere (sic) uninvited." Inspector Rizzi, "I must have used the wrong word. My English is uh...." Merle McGill, "It must be hard for you to imagine, inspector - a man like Cecil Fox and I." Inspector Rizzi, "Not hard at all." McGill, "How can I say it, inspector? He was my first... man. Somehow, you just never forget your first man." Rizzi, "I remember mine, vividly. He also got away."

Merle McGill, "OK, shamus, so what's on your mind? Or, to be exact, on both your minds?" Inspector Rizzi, "Shamus? You use too many American idioms I do not know."

Merle McGill, "When you do talk to Princess Dominique, you know what she's gonna tell ya?" Inspector Rizzi, "If I had such capability, I would never get out of bed." McGill, "She's gonna say that she and I were here, in my room, all night, playing gin rummy together. That'll be a lie. For one thing, she can't even play gin rummy." Rizzi, "Fascinating! Now why would she choose a game she could not play?" McGill, with a "caught" look on her face, "Yeah, that was stupid of her, but the name of the game isn't important."

Princess Dominique, "I have no need for Mr. Fox's money." Inspector Rizzi, "That is what truly baffles me. This incredible wealth which nobody needs and everybody wants."

The Honey Pot is a delightful comedy mystery that seems destined to be under-appreciated. On the surface, an updating of Ben Jonson's Volpone, the plot twists in unexpected directions, confounding the viewer until the very end. While the mystery itself takes some time to get started, I found the film thoroughly entertaining due in great part to the witty dialogue of masterful Jospeh L. Mankiewicz and the colorful characterizations delivered by a wonderful cast led by Rex Harrison, Cliff Robertson and Maggie Smith. The dialogue also reaches some interesting depths towards the end of the film when Harrison's character makes some thoughtful reflections about time. As others have pointed out, the plot involves a lot of talking and takes its time to unfold, but this is part of the charm of the story. It is perhaps less about the mystery itself than the amusing interactions among a set of opportunistic and sly characters plotting against each-other. Performances are all around superb. Rex Harrison is exquisite as the cunning and charming orchestrator of the intrigue. Cliff Robertston is flawless as the quick-witted McFly/Mosca, executing his master's plan with intelligence and humorous servility. Just as delightful are Maggie Smith as the not-so-innocent nurse bringing a moral conscience to the story, Susan Hayward as a brash and aging American millionairess and Edie Adams as a rather crude Monroesque movie star. Perhaps a little too slow and not exciting enough for most audiences, The Honey Pot is neverthess worth the time of those interested in sophisticated and humourous dialogue, unusually creative mystery, and engaging performances.

A very rich man sets up a scheme to convince 3 old lovers that he is dying and they - individually - are potentially his heir. Good performances by Harrison, Robertson and Maggie Smith. An end worthy of Agatha Christie - with all the players brought together and the details brought out.

What a charming surprise to find this overlooked gem of a movie, a modern day update of Ben Jonson's Volpone. It was the cast that attracted my attention. Rex Harrison, Maggie Smith, Susan Hayward, Cliff Robertson, Edie Adams - how can you go wrong? They all acquit themselves well in this elegant whodunit - and whydidhedoit - romp. Adolfo Celi (Lago in Thunderball) is particularly good as the police inspector. The plot has enough false leads, misdirection and twists to make your head spin. The Venetian (or faux Venetian) interiors are splendidly luxuriant, and the exteriors are lovely. This is a lightheartedly elegant dark comedy that most entertainingly fills an hour or two. Highly recommended.

Coming at the end of a prosperous string of all-star mystery films, THE HONEY POT suffered more from a lame title and timing than anything on screen when first released (an even worse title, "Up Pops Murder" didn't help when the film was first released to television).

The typically superb script and direction from Joseph L. Mankiewicz, from a play by mystery writer Frederick Knott, inspired in turn by Ben Johnson's classic play, VOLPONE, THE HONEY POT could not have had a better cast with Rex Harrison (at the top of his game) as the supposedly super-wealthy Cecil Fox mentally tilting with his secretary, Cliff Robertson, and a nosy nurse/love interest for Robertson, a very young Maggie Smith (younger viewers may be interested to see this very different performance from HARRY POTTER's Professor McGonagall - as well as her amazing Desdemona opposite Olivier's OTHELLO) and a trio of ex-loves, Edie Adams, Cappucine and Susan Hayward all in Fox's beautiful Venetian palatzo (the exterior shots are as gorgeous and the interiors).

A death happens (accident? perhaps murder?) and a Venetian police inspector, Adolfo Celi, enters the picture (lovely side note as his family at home is enraptured with PERRY MASON on American TV more than his real-life work) and the film starts to leave Ben Johnson's Volpone behind and delve into more complex games.

To be frank, this film has long been among my favorites - I have been accused of teaching an entire university course on Mystery Writers just to develop an audience for it. Showing the film at the conclusion of the course, after considering the progression of great mystery writing from Poe to Conan Doyle to Christie, Hammett and beyond, this marvelous under-appreciated work from Knott & Mankiewicz never fails to grab them. It's well worth a look for anyone interested in good literate fun, great performances and writing that don't depend on splatter gore, special effects or CGI.

While the ongoing box-office clout of stars Harrison and Hayward got the film a limited VHS release, it's hard to a copy today - but well worth the search.

Wonderful film...if only it had a better title.

In Venice, the millionaire benefactor Cecil Fox (Rex Harrison) watches the Seventeenth Century play Volpone and plots a practical joke to his three former greedy mistresses. He hires the unemployed actor William McFly (Cliff Robertson) to act as his butler and stage manager and sends letters telling that he is terminal to the decadent Hollywood star Merle McGill (Edie Adams); to the broken Princess Dominique (Capucine); and to the sick Lone Star Crockett (Susan Hayward), who was married with him and arrives in his palace bringing the nurse Sarah Watkins (Maggie Smith) as her companion. The prime intention of Rex is to see the reaction of the women after the reading of his will declaring McFly as the only heir of his fortune and then laugh up them. However, when Mrs. Sheridan is found dead in her room, the snoop Sarah decides to investigate and realizes that the prank is indeed an intricate scheme to get the fortune of Rex.

"The Money Pot" is a delightfully witty film of the great director Joseph L. Mankiewicz. The sophisticated and theatrical screenplay has wonderful lines and many plot points that surprises many times and a mystery that recalls the novels of Agatha Christie. The direction and the performances are superb, highlighting Rex Harrison, Cliff Robertson, Maggie Smith and Adolfo Celi, the Venetian inspector that watches Perry Mason at home. My vote is nine.

Title (Brazil): "Charada em Veneza" ("Charade in Venice")

This film centers on an extremely wealthy man named "Cecil Sheridan Fox" (Rex Harrison) who is living in Venice and wants to play a joke on three attractive women: "Lone Star Sheridan" (Susan Hayward), "Princess Dominique" (Capucine) and "Merle McGill" (Edie Adams). So he sends them letters telling them he is dying and that he has a huge fortune to pass on to one of them--just to see how far each of them will go to prove their love for him. He enlists the aid of "William McFly" (Cliff Robertson) to assist him. But things don't exactly go according to plan. At any rate, rather than disclose any of the secrets that unfold I will just say that this film turns out to be both a comedy and a mystery. Now, while I thought both Cliff Robertson and Rex Harrison performed well enough, I must say that I especially liked Adolfo Celi as "Inspector Rizzi". I also didn't mind having such beautiful and talented actresses like the aforementioned Capucine, Susan Hayward and Edie Adams either. At any rate, this is an enjoyable comedy but be warned-there are a lot of twists and turns along the way.

The Honey Pot (1967)

An odd film historically--it falls in the year of the New Hollywood breakouts like "The Graduate" and "Bonnie and Clyde" yet it is made in the style of those earlier 1960s slick and effete capers like "The Pink Panther." The movie can't be seen in quite contemporary terms, because it's just too slick and clever, and yet it doesn't have the panache and glorious success of the best of the earlier color films, glamour besides.

Technically this is an American production, though it's thoroughly British in feel (and the production company also handled the embarrassing "Casino Royale" which is equally British at its core). The story is basically a romanticized version of Ben Jonson's "Volpone," a play from the same year (1606) as Shakespeare's MacBeth. There is a small part of "Volpone" performed in the movie (for the indulgence of the filthy rich scheming main character). This would seem a promising starting point.

And the director (and co-screenwriter) is one of Hollywood's classic greats, Joseph L. Mankiewicz. Like many of the old guard still working in the late 1960s, there is a slight sense of displacement here, or even of weariness mixed with self-satisfaction. Maybe it shows that this is his last film. The theatrical style of acting is also teetering into the functional dialog and delivery of television--it depends not on atmosphere (t.v. had none back then) but on a development of ideas. In fact, it is something of a play expanded and made colorful for the wide screen. Its drama depends on a sequence of events rather than cinematic, visual elements.

If you are looking for a Susan Hayward performance, there isn't much to watch for--it's quirky and brief. Rex Harrison as the lead is forceful and uncomplicated. And convincing enough. The many side characters are strong and will do, though there is a sad lack of momentum to it all. The combination never quite stumbles, combining a light wit and sophisticated air (and lacking the seeming selfish cruelty of Jonson's original). Even the camera-work, ever smooth and perfectly balanced, gives a sense of well made, if slightly too well lit (television again) movie-making.

Yes, I am all hesitance here. It's so nice and smart all the time without great effect. It twists and twists and you have no way to really anticipate, merely respond by saying, oh, another twist. You don't give a hoot about the characters, or the murdered woman, or whether the inheritance is real or not, or much of anything. So all the back and forth, all the hiding of secrets and playing of parts, even the voice-over from the dead at the end, is slim entertainment.

If you want to see the late ,great Sir Rex Harrison at his finest rent this film. Sir Rex give a tour-de-force portrayal and pulls out all his high comedic talents. the movie proves to the film-goer just how great Harrison must have been on stage. He is ably supported by the future Dame Maggie Smith in a well defined understated performance. Cliff Robertson & Edie Adams are also good in this sly update of Volpone.

With "Honey Pot",Director Mankewicz shows that he was as skilled at small cast fare with brittle humor as he was at larger full scaled epics or shady drama.The combination of Harrison,Mank,Smith and Robertson made a fine film indeed.

This is Mankiewitz? The master of witty dialogue? This movie is not only a waste of talent in front and behind the camera, it is boring and moves slower than molasses.

Harrison is a tiresome gasbag, Robertson is wooden and charmless, Maggie Smith is given nothing to do, Capucine looks ill, Susan Hayward is beyond obnoxious and Edie Adams is way past her short shelf life as a third rate, third lead Hollywood bimbo.

No wonder this talk-fest flopped. The first rule of a mystery movie is to have a crime committed near the beginning. Then the audience can enjoy looking for clues to solve it.

The cast does a fine job. The sets are beautiful. But the pacing is tortoise like.

The movie is worth a watch, but only barely.

The "Fox" (rex harrison, a couple years after My Fair Lady) invites his ex girlfriends to visit. and this will require the assistance of an assistant, who can be relied upon, and is willing to tell some lies in the process. he hires McFly (Cliff Robertson) to help him play a huge trick on the ladies: her highness (capucine), Bunny McGill (edie adams), and the feisty Mrs. Sheridan (susan hayward). They are all lured there with the idea that someone is dying, and will leave a huge fortune to one of them. Mrs. Sheridan has a nurse, or assistant, or something... played by the awesome Maggie Smith. so the ladies all spend the next couple days arguing over who has the most right to the fortune. lots of talking. and some shenanigans. mayhem. some twists and turns. a couple gay references. directed by joe mankeiwicz. story by Thomas Sterling. his only novel. which itself, was based on the 1606 play Volpone (Fox!) by Benjamin Jonson, according to wikipedia dot com. it's quite good. the actors mostly yell and snarl at each other. Maggie Smith was great as usual, and the story is fun to watch as it unfolds.

In Venice, fabulously wealthy Cecil Fox (Rex Harrison) is inspired by a famous play to get revenge against three of his exes. He hires sometimes actor William McFly (Cliff Robertson) to trick the trio into believing that he's dying and leaving his fortune to one of them. Merle McGill (Edie Adams) is a fading Hollywood star. Princess Dominique (Capucine) is independently wealthy. Texan Mrs. Sheridan (Susan Hayward) brings her own nurse Sarah Watkins (Maggie Smith).

There are moments of creepiness but at least, these are ex-lovers. I don't find the scheme actually funny since I'm uncertain about the rooting interest. It's certainly not Cecil. Only the nurse is worth any rooting interest and she is initially presented as having no actual stakes. It gets more interesting for her to get involved later on. It becomes slightly compelling due to its unpredictability. There are many ways to finish this story and some of them are actually interesting. I'm not sure if this ending is more than overly complicated.

Taking an inspiration from his favorite Jacobean play, Ben Jonson's Volpone, fabulously wealthy Rex Harrison hires an out of work actor Cliff Robertson to play an elaborate practical joke on three women who've been part of his life. Robertson's to play his confidential secretary and assistant and to send them letters inviting them to Venice where Harrison is pretending to be dying in his palazzo.

To be sure these are three women to die for indeed. There is Princess Capucine with a title, but little else going for here as she becomes one of those permanent house guests on the Riviera. Then there's movie star Edie Adams originally from the Greenpoint section of Brooklyn whose best days as a film star are behind here and not enough money is coming in to keep up with her lifestyle spending. Finally there is the mysterious and earthy Susan Hayward. Imagine if you will Susan as Rachel Jackson, but with a malevolent twist and you've got her character. She's also a hypochondriac and travels with nurse/companion Maggie Smith.

The joke's proceeding great until Hayward winds up dead and the police in the person of Inspector Adolfo Celi is brought in. Joseph Mankiewica's literate script glides ever so gently from comedy of manners to murder mystery. And not like everyone of them hasn't got reason to do in Hayward. Just see the film and you'll know what I mean.

Sad that The Honey Pot failed to find an audience. Also sad that it was two years from the Stonewall Rebellion, Harrison's bisexuality was not more explicit. In regard to that read Hayward's comments on their lives together and the dialog exchanges between Harrison and Robertson.

In fact The Honey Pot does turn out to be an elaborate joke, but you have to see who winds up winners and losers in this very intelligent and witty film.

"The Honey Pot" is a 1967 comedy/drama with a fine cast that did not succeed in its day. Though it got a video release in 1993 and a DVD in 2005 it was always hard to find and so I finally got it on blu-ray. For me it was worth purchasing. Since the death of Maggie Smith, who has an important role in it, it has become more available from streaming services which, after all, is how most people watch movies these days.

The film makes a great deal of it being based on Ben Jonson's play, "Volpone", one of the most performed plays of its period that wasn't written by Shakespeare. It makes sure you know this by opening with its star, Rex Harrison, watching the play performed in a Venetian theater and making reference to it frequently. Its screenplay by director Joseph L. Mankiewicz is actually based on a play by Frederick Knott, who had written "Dial M for Murder: and "Wait Until DarkHe had adapted the play from the novel. "The Evil of the Day" by Thomas Sterling. The character of Volpone (Italian for fox) here is Cecil Sheridan Fox (Rex Harrison) and his servant Mosca (Italian for fly) is William McFly (Cliff Robertson). The play had three men as the possible heirs of Volpone's fortune while the film makes them three women. After a comic beginning the film changes direction and completely leaves the play behind except for its setting in Venice.

Mankiewicz had already had a long and glorious career in Hollywood with Paramount, MGM, 20th Century Fox and as an independent director with his own production company, Figaro. He peaked with double Oscar wins for director and screenplay for "A Letter To Three Wives" (1949) and "All About Eve" (1950). He had unfortunately accepted 20th Century Fox's offer to direct "Cleopatra" (1963) after Rouben Mamoulian was fired but the financial disaster caused to the studio by the film's expense ended his career. This, a major film with a big budget, was his bid for a comeback but it did not register with the public who were busy seeing more action-oriented fare like "Cool Hand Luke", "The Dirty Dozen", "You Only Live Twice" and "Bonnie and Clyde". Mankiewicz did make a comeback with his final film, "Sleuth".

The general criticism of the film is that it is too long and it really is at 132 minutes (150 minutes in the U. K. cut). This is said with qualifications. It's just rather novelistic in its way of setting the scene, revealing its characters then spinning out a mystery that becomes more intricate as things develop. The director takes his time doing this and I don't know if there would be another way to do it adequately. I can't point to scenes that should have been cut here or there. To enjoy the film you have to be ready to sit back and let it reveal itself in its way .It's full of pointed conversation and the wheel within a wheel mystery is not only clever, but is fair in the sense that a really sharp viewer has a chance to figure it out before everything is revealed.

Rex Harrison is at his most droll and magisterial and absolutely marvelous, of course, when giving long speeches. The three women, each of whom has had a significant role in his life at one time are each a type. Susan Hayward is a woman of the American West as Miss "Lone Star Crockett" Sheridan who has an ace up her sleeve. Edie Adams is a fading movie star and as Merle Mcgill, is not above some plotting herself. Capucine adds her usual elegance and fashion sense as Princess Dominique and has her own tricks.. But the real star of the picture besides Harrison is a young Maggie Smith, who seems to be the only ethical person in the whole group. It had been so long since I had seen it that I had thought her role as Nurse Sarah Watkins would be minor but she's often the focus of the film. This, her eighth film, was a big step for her cinematically before making "The Prime of Miss Jean Brodie". This leaves Cliff Robertson as McFly, an actor hired to play Fox's servant. He seems miscast to me and it's hard to pin down, but he just seems like he should be in an American crime or action film and not here. Adolfo Celi, frequently a film villain, gets a chance to be a good guy and even charming here as Inspector Rizzi. Watch this film when you are in a leisurely mood and give it the time it needs to tell its story and you will be rewarded.

"The Honey Pot" was not successful when it was released. I assume much of this is because the film is VERY unusual. The first half is a clever comedy but midway through the film, it abruptly becomes a murder mystery. The end result is a film that seems like two different films chopped apart and glued together. For me, I wish it had stuck with the comedy throughout--it would have been a better film.

The film is about a very rich man (Rex Harrison) who has decided to enact his own real-life version of the Ben Johnson play "Valpone". It's a play in which a man pretends to be dying and does this to fool his friends. Like "Valpone" (which literally means 'the fox'), Harrison's name is Fox. However, in this case, Fox has invited his three ex-wives to his home--telling them through his secretary (Cliff Robertson) that he's dying. However, instead of this complicated plan being seen through to the end, folks start dying. What gives?! The film has a nice cast. In addition to Harrison and Robertson, there are the wives (Capucine, Edie Adams and Susan Hayward--who is quite entertaining). Also, Adolfo Celi and Maggie Smith are along for support. However, despite the story being directed by the brilliant Joseph L. Mankiewicz, it just didn't work. It wasn't just that the film was two different films but the ending was VERY talky and had to explain everything to the audience--which was very awkward. Overall, the film is also a bit overlong. For me, despite some nice performances, it just didn't work.

Excellent Movie! Terrific Suspense! It kept me guessing and thrilled up to the last minute, something that is rare in movies made today (2006). Rex Harrison in his finest. His dancing was superb! Maggie Smith as Nurse (Moth brain) almost stole the show and Cliff Robertson was especially convincing as an actor and a lawyer. I adored Adolpho Celi who played the Inspector. He was so smooth and gentle almost to lead us to believe he was not very bright but to the contrary. I've always enjoyed Susan Hayward, she gave them movie some spark and gave it life and as Cecil commented after she was gone that things would be dull from now on. Yet it wasn't and the script kept the viewers moving right along. Was there a cameo by Jack Benny playing a street musician?

I was quite surprised by my utter boredom with this film. I had read so many high opinions of it. The cast and general description would have suggested an enjoyable feature for me.

But, alas, it stunk. I expected the film to be stagy, as it was adapted from a stage play. But there was just nothing in the silly story to like. Stories like this need to work up to a crescendo of confusion and gaffes. But this one just became a deeper and duller yak fest.

There was also zero chemistry with the cast. I must, here, admit that I do not enjoy Rex Harrison in anything. His hammy, self-centric style always seems completely out of place on the screen. But that aside nobody clicked in this thing. They just talk at each other throughout this bewilderingly pointless plot.

Clearly there are folks who enjoyed this film. More power to 'em. I am just not one of them.

I must admit when I saw this movie I it felt that it was not complete. Sure enough the back story of this film is that United Artists -then an independent film company that was a haven for great independent film makers such as Stanley Kramer, Robert Wise, Billy Wilder, William Wyler made serious cuts to the finished film that reportedly upset both Joseph Mankiewicz and star Susan Hayward. I do not know if Susan's long absences from Production tending to her dying husband in the USA resulted in her role being cut or what. The cinematographer died during production too. Years later Joseph Mankiewicz restored all of his cuts and it is said to be a brilliant film. Mankiewicz films are noted for great dialogue, and this film is missing some of the usual quips made so famous in Mankiewicz films. However the DVD version is the UA version not the Mankiewicz version.

Susan Hayward- always an exciting woman to watch on the screen has little to do, but makes every scene she is in worth watching, however Hawyard's character "Lone Star" ends up dead early in the movie. There is not even one "Hayward scene" where the usually fiery star would dominate a sequence. Capucine, Edie Adams, Maggie Smith and Cliff Robertson give fine support to Rex Harrison and Ms. Hayward. This movie has 4 Oscar winners Hayward, Harrison, Smith and Robertson.

This is the last Susan Hayward movie that allowed Hayward to be considered a superstar, what would follow would be cameos in Valley Of The Dolls and The Revengers,, and two TV movies Heat of Anger and Say Goodbye Maggie Cole before dying of brain cancer at a relatively early age of 57. Years later Rex Harrison would be quoted as saying He and the rest of the Company respected Ms. Hayward who dealt with the loss of her hsuband and carried on so professionally in her role.

Loosely based on "Volpone," a play by Ben Johnson, Joseph L. Mankiewicz's literate, yet complex film, "The Honey Pot," is an often overlooked gem from the 1960's. Ensconced in his lavish Venetian palazzo, Cecil Fox devises an elaborately staged game to play on three of his former paramours. Hiring a handsome stage manager named McFly, he writes a letter to each woman telling her that he is on his death bed and she could be heiress to his estate. Needless to say, each arrives in Venice with an expensive gift and a desire to rekindle the fire with Fox. Each woman brings a time piece, and the theme of passing time is woven throughout the film.

The film was the second successful collaboration between Mankiewicz and Rex Harrison, the first producing Harrison's Oscar-nominated performance in "Cleopatra." Harrison is a sly delight as Fox, a devious, manipulative schemer, whose dreams of being a dancer send him flitting flamboyantly around his bed chamber; in keeping with the film's theme, he even cavorts to "The Dance of the Hours." Cliff Robertson is McFly, a man with a checkered past, who stages the deception with ambiguous motives of his own. The three objects of Fox's deceit are played by Susan Hayward, Capucine, and Edie Adams. Hayward's Mrs. Lone Star Crockett Sheridan is the most colorful, and her tough-talking Texan character is missed when she is off-screen. Capucine's Princess Dominque is properly cool and regal, and Adams's Merle McGill is crass and common. In a role that resembles her work in "The V.I.P's," Maggie Smith is the under-estimated brains among the group; as Sarah Watkins, nurse-companion to Mrs. Sheridan, Smith is described by Fox as "the bouncy one," and she is indeed.

"The Honey Pot" may be too slow and wordy for those nursed on Marvel Comics super heroes, but patient viewers have much to relish. Mankiewicz won Oscars for his biting screenplays for "All About Eve" and "A Letter to Three Wives," and also won nominations for writing "Skippy," "No Way Out," and "The Barefoot Contessa." His sharp and witty dialog is deliciously delivered by Harrison and Hayward in particular, who have the best lines; however, the entire cast, which includes four Oscar winners, does well, and each has his or her moments. Gianni Di Venanzo's well rendered cinematography of Venice and of the rich interiors of Fox's palace is colorful, and John Addison's score enhances the proceedings. Boasting excellent technical credits, a sterling cast, and a script and direction by Joseph L. Mankiewicz, "The Honey Pot" offers solid entertainment for discerning viewers and a few twists and surprises to keep everyone attentive until the end.

Maggie Smith's astute performance as Susan Hayward's maid elevates this rather stiff and boring drawing-room comedy, a remake of the 1939 film "Volpone", in which Rex Harrison portrays a millionaire who fakes a fatal illness to test the reactions of his former girlfriends. Hayward plays one of the ex-flames who winds up dead for real. Rambling nonsense, with Harrison creepily mannered (though possibly on purpose). The story, whose origins lie in both the popular play "Mr. Fox of Venice" and the successful novel "The Evil of the Day", quickly tires one's patience. Reissued under the title "It Comes Up Murder", though audiences weren't fooled--the film flopped. *1/2 from ****