Nina

How could the final film to be directed by Vincente Minnelli, for which he got to direct his daughter, Liza, and 1 starring Ingrid Bergman, for which her daughter, Isabella Rossellini, got to play her nurse, turn out to basically suck lemons?!? Just try and watch it all the way to the end (Liza's second singing bit comes near the end, and those two musical moments are the only bright spots in this dreadful film, although the movie itself is not a musical). I gave this 3-4 star (out of 10) movie an extra star because I love Ingrid without reservation, and Isabella would turn out to be darned good, too, but it's just a gift. Mr. Minnelli apparently spent his time encouraging Liza to over-emote (and hence overact), while ignoring his stars (even, in a bit part, Charles Boyer's last movie appearance), their roles and motivations. Watch "Cabaret" instead.

Ingrid Bergman is excellent in this unfortunate misfire, gruesomely "re-edited" by the clueless American-International studio. Vincente Minnelli disowned the finished project, and other directors (such as Martin Scorsese) took out ads in Variety protesting the re-cutting of the project. Liza's performance is all over the place, although she does have a few affecting moments. Overall, an intriguing mess.

A big disappointment, but with the talent involved, this movie couldn't not be worth a look - Bergman, the Minnellis, Boyer's brief cameo, a John Gay screenplay (which evidently went awry and became something of a muddled mess) and Geoffrey Unsworth (though time hasn't been kind to his cinematography, which looks murky now). Something was definitely missing here, and I had trouble keeping track of who was who among several of the characters. Bergman was an interesting combination of Auntie Mame and The Madwoman of Chaillot. Liza's in great voice here: the two Kander and Ebb songs aren't bad at all, and "Do It Again" was superb (we know who she must have been thinking of), but where do the songs fit into this muddle? Was it intended as a semi-musical? And why does Liza Minnelli (as Nina) suddenly take Bergman's place as the Countess in the 'flashbacks' - are these supposed to be scenes from Nina's film, or merely in Nina's head? Also, the movie is supposedly set in 1949 but has no period feel or look at all - it looks like 1976. The soundtrack - music and dialog both - sounds like it was almost entirely post-synched, and is reminiscent of one of those bad Italian sword-and-sandal or horror movies of the 1960s or, what's worse, like one of those imported "art films" (the X-rated variety).

Film star Nina (Liza Minnelli) remembers her early days as a maid in an Italian hotel. There are many eccentric guests including Contessa Sanziani (Ingrid Bergman) who is longtime estranged from her husband Count Sanziani (Charles Boyer).

This is the last film from director Vincente Minnelli, Liza's father. This is rather flat. Maybe it could have been turned into a full fletch musical. Liza keeps singing but as a musical, it keeps holding back. Maybe it could strip away all the jumping around to get to a simple female friendship story. There is a dullness to the rundown hotel set. The various eccentric guests have an uncontrolled randomness to it all. The 'rape' scene shocked me at first. It's a bit of a mess. There is a good film here somewhere.

It is not hard to understand why this movie has never been released on anything but 16mm, which is how I came to see it. This movie is a bit too eccentric to actually accomplish it's purpose. The acting is much too stylized and emphatic with the plot rather weak. The interest in this film lies in the fact that has many firsts and lasts. It is Charles Boyer's last film, and Isabella Rossellini's first. It is also the last film that Vincent Minnelli directed, and close to the end of Ingrid Bergman's career. Other than that there is little to recommend it, but it does have some interesting footage of Rome. It is about a chamber maid who gains employment in Rome taking care of a declining socialite who once strutted across the world stage but who is now on the rocks. She is unable to accept being a has-been and continues to live in her mind as though she is still the consort of emperors. Her new chamber maid Liza Minnelli tries to support her as well as she can, although it is a hopeless task.