The Confession

Ginger Rogers and Ray Milland in a sleazy comedy/drama story about prostitutes in a brothel owned and managed by Ginger. A scam by con man Ray convinces the villagers that a Saint's statue has miraculous powers.The two plot lines merge. Barbara Eden playing a hooker knocked up by a local is at her physical peak of facial and bodily perfection. Her then husband Michael Ansara (Cochise in TV.s Broken Arrow) is the sleazy mayor. The worse part is the droning, endless score with musical cues that have no relevance to the scenes, It's like an editor just played a few records for 95 minutes. A total embarrassment for the great Ginger and Ray. The village prostitutes who look more like showgirls and strippers are of the Irma La Douce, Never On Sunday Hollywood kind.

In a beleaguered Spanish village, an unwed prostitute "in the family way" believes her prayers to an aged statue of St. Joseph have been answered after she hears his voice and awakens from a faint in possession of gold coins. The crooked mayor also hears the voice, promising to redeem himself to the townspeople he has cheated--but the miracle is a hoax, set off by a thief who was digging under the statue for buried treasure. Troubled independent production went through two directors--Victor Stoloff, who was fired without credit, and William Dieterle, who completed the picture--only to be shelved until 1971, when it resurfaced in the US with a new title (likely to everyone's chagrin). Allan Scott's dim script is the real casualty, wherein the thief actually feels guilty he duped the prostitute into believing her prayers were heard, risking her spiritual belief and the entire town's animosity by revealing the truth. A solid cast almost rescues it: Ginger Rogers is fine (if overly colorful) as the local Madame (real-life husband William Marshall produced); Ray Milland is wily and almost charming as the thief the Madame is in-cahoots with; Elliott Gould makes his debut as a mute; Barbara Eden and her husband, Michael Ansara are fine; and Cecil Kellaway (still doing his kindly old priest bit) is always nice to have around. Slow-starting comedy improves as it goes along, though the big finale isn't quite grand enough and the concluding tag shucks the whole thing off with a smile and a wave. *1/2 from ****

In this , the basic plot, finding a treasure , is overshadowed by the Miracle, seemingly seen by Pia (Barbara Eden). The result of the miracle is the conversion of many town characters who have been stealing from the town. One of these is the mayor, played by Michael Ansara, Barbara Eden's real life husband. The superb acting by Barbara Eden is a high point in this movie. Also fine acting by Michael Ansara, Ginger Rogers, and Ray Milland.

I never knew of this film with Ray Milland but came across it on youtube. It is a cute film with a nostalgic pairing of Ray Milland and Ginger Rogers. It centers around a hidden treasure that is hidden deep below a statue of St. Joseph in a small village. Milland is a thief and he is after that and then of course after Rogers who plays a madam in a house of ill repute. They get together and when he finds a prostitute begging the St. Joseph to speak to her and help her with her pregnancy, he speaks and tells her everything will be okay. She goes to the priest to tell him there has been a miracle. Many funny scenes come when every person in the town with a secret ask St. Joseph to forgive them. In the end the statue crumbles revealing a solid gold stake, truly showing a miracle. There are many stars in the movie, which certainly helps it move along. It is just fun to watch Milland and Rogers together again.

Other reviewers give the strange background and history of this film that was made in 1964 but not generally released until 1971. With all its problems, production deficiencies, and needed clean up of the screenplay, it was a flop that led to ill feelings between Ginger Rogers and others involved.

It's too bad, because "Quick, Let's Get Married" had a plot that could have made a very good comedy and satire. Some may be put off by aspects of the film - a madame and her bordello in a small Italian town; or the portrayal of faith by some, or the treatment of sensitive subjects. The film can clearly be seen as a light satire of some of these things, as well as a more obvious satire of local politics.

It may seem obvious to some that the screenplay itself wasn't quite finished. It needed some editing, refinement and polish. That could have smoothed over the rough parts and the sensitive aspects. But, as a portrayal of life in the time, place and setting of the film, it may not be so far off. Brothels existed in many places, and local politicians in some towns of Europe were on the take, if not highly corrupt. That is some, but surely not all or most. As with any satire, the situations portrayed are exaggerated for the comedy.

The plot with a hidden treasure from the past is a good fictional base around which to build this story. Mixed with the humor is a portrayal of faith and, at times, a lightly irreverent and humorous treatment of religion. But this never descends to mockery or denigration of Christianity. The ending even has a straight, poignant scene about faith, with Pia Pacelli and the Bishop. And that gets to a fine cast with some wonderful actors who do very well in their performances.

Barbara Eden is Pia, the youngest member of Madame Rinaldi's bordello who is pregnant by Beppo (played by Carl Schell), whom she loves and wants to marry. Cecil Kellaway plays the Bishop. But the main characters are Madame Rinaldi and Mario Forni, played by Ginger Rogers and Ray Milland, who were both in their later careers. This comeback attempt for Rogers (age 53) didn't pan out, and except for an occasional appearance on a TV series over the next two decades, her acting career was over. Some think it might have been the best thing for Milland as well. He was 57 at the time, but continued to act in many movies and on some TV series up until his 1986 death at age 79. But most of his roles from this point on were in B movies, many of them quite bad, including some terrible horror films.

Two other characters contribute to much of the humor in this film. Michael Ansara plays the town mayor, Pablo; and Vinton Hayworth is Aguesta, the Town Banker or pawn broker.

A little drama interspersed in the film includes a dam break that almost takes the life of the mayor's son; and the turn around and conversions, treated lightly but as authentic, with Pia, the mayor, the banker, and the women of the town, generally. Here are some sample lines of the humor that show the potential there was here for a very good comedy and satire. .

Beppo, "You know when I get to New York, perhaps I will send for you." Pia Pacelli, "Why is it always New York with you - the big town. I come from a big town - Venice. I know how it is in the city. And in Venice, when the tide is low, it stinks and there's garbage in the canals. Ach! I'll never go back to live in a slum."

Mario Forni, "Now, who should we talk about - you or me?" Madame Rinaldi, "You." Mario, "No, I don't think so. Let's talk about you. I know all about me." Madame, "And I know all about me, so the conversation is already over."

Madame Rinaldi, "And like all other men, you think you're absolutely irresistible." Mario Forni, "Oh, not any more. I used to be, you know, but nowadays I find that I have to fight a little harder. What were we talking about?" Madame, "Mohammedan."

Mayor Pablo, "Many people - women, in particular, get pregnant."

Madame Rinaldi, "Pregnant women are inclined to look more beautiful anyway."

Aguesta, Town Banker, "What do you think?" Mayor Pablo, "Well..." Madame Rinaldi, "Does he ever?"

Aguesta, "You've been a great mayor. I voted for you myself." Mayor Pablo, "I voted myself for myself."

Madame Rinaldi, "Oh, if I knew how, I'd pray. Can you?" Mario Forni, "No, I've forgotten."

Aguesta, "We pay to commit sins, then we have to pay to uncommit them. It goes against the grain."

Mario Forni, "I'm unprincipled enough not to have any principles worth anything. But I've never killed anybody. But somehow, some way, I feel I've killed her."

The Bishop, "Why does everything miraculous seem to be a miracle."

Mario Forni, "I thought you didn't believe in marriage." Madame Rinaldi, "I don't. But you make me believe in my own disbelief." Mario, "I think I know what you mean."

The Bishop, "There was a miracle, Pia. You see, child, the things of God that are marvelous are to be believed in. But sometimes reason destroys, because it proves to the reasoning mind only that which is reasonable, and leaves out all that is marvelous. But all is well, child. All will be well. The miracle was in your own faith. Keep that faith, my dear. Keep it always. With God's everlasting blessing."

Mario Forni, after their car loaded with treasure rolls over the cliff into the ocean below, "Hey, do you know how to skin dive?" Madame Rinaldi, "No. But I'll learn."