The Yellow Rolls-Royce

And also some ravishing scenery. This movie has three separate segments, all of them well done in spite of a pretty tepid script. The actors are magnificent but I would have to say that Shirley MacLaine was amazing as a gangster's moll who falls in love and then sacrifices that love to save his life. Beautifully acted. Omar and Ingrid also shine in the segment about fighting in the hills of Yugoslavia. Of course in all three of the stories the males are mere foils for the females and the car itself. This movie is definitely a "guilty pleasure." 7 out of 10.

All the three actresses are beautiful and attractive: some honest and some dishonest. The men remain the drones to the queen bee in all the three episodes.

Jeanne Moreau is probably the weakest of the trio but elegant in her role as a wife who has a young lover. Shirley Maclaine is the classical stunning dumb blonde who has to make a choice to step into a stable, rich married life. The fascinating Ingrid Bergman chooses to step down from a wealthy peerage to a realistic rustic lifestyle using charming wit for achieving an honest end.

This is Asquith's last film with Jack Hildyard's cinematography that is patchy but stunning at times. As a film it is average but the casting and the performances of the three ladies and George C Scott are notable.

A very enjoyable vintage film which the likes are not made anymore. Usually these all star cast epics are not too good, but this on and THE V I P's are well worth seeing. Three stories revolve around a yellow Rolls Royce with a common thread of back-seat "goings on". All three episodes are well done and photographed. The scenery is magnificent as is the music score. While all the actors are perfect in their roles, INGRID BERGMAN is the stand-out. This lady could do no wrong. SHIRLEY MACLAINE does her Shirley Maclaine to the hilt. A character very much like her earlier work in SOME CAME RUNNING. Since movies like these are no longer made, this is a must see for those enthusiasts who love old fashion movie making. Just out on DVD the transfer is wonderful. Too mad no extras as this one cries out for a commentary by at least one of the surviving stars.

This movie presents three stories one after the other, as we follow the fortunes of the first and subsequent owners of the yellow Rolls of the title. First, Rex Harrison buys it as a present for his erring wife, Jeanne Moreau. She uses an anniversary party to flaunt her boyfriend, Edmund Purdom. The car then makes its way into the hands of Mafiosi George C Scott and his moll Shirley MacLaine. She falls for French photographer Alain Delon (and who can blame her?). Finally, the car plays its part in international politics when Ingrid Bergman and Omar Sharif take it on a rescue mission.

Anthony Asquith's film survives because of its construction, using the car as a lynchpin for three very different stories, character combinations, and situations. The car remains the star (perhaps because of its colour) but there are enjoyable performances here too. It isn't a challenging or particularly exciting film, but helps to pass the time. Personally I find it a better British film centring on a car than the earlier Genevieve, but that might just be my own taste.

The Yellow Rolls-Royce follows three sets of car owners and how the title car influences their slice of life. With an all-star cast and short stories that are easy to follow, these types of movies are always popular and usually include something or someone to love.

The first vignette actually makes you feel sorry for Rex Harrison, which is a miracle in itself. He's a wealthy diplomat with an unfaithful wife, Jeanne Moreau, and his story is rather sad. Everyone will get a laugh, however, when Jeanne requests, "Be a darling, will you, and fetch me my slippers?" Take that, Professor Higgins!

In order to make up for the sadness of the first vignette, the second starts off a little silly. Italian mobster George C. Scott and his low-class American fiancé Shirley MacLaine buy the car. Between her gum-chewing and his pseudo-Italian accent, you think you're in for a ridiculous third of the movie. It does get better, though, when George leaves for business and leaves Shirley alone with the car. . . and the ridiculously cute Alain Delon.

By the time the third vignette rolls around, you've had time to realize this is a bittersweet movie. Ingrid Bergman and Omar Sharif join forces in the last act, using the car to help the resistance before WWII breaks out. It's an interesting ending to the film, since all three vignettes aren't really stories to write home about but are entertaining at the time.