Toureiro sem Sorte

"The Bobo" is not a very good movie. It's arguably not even fair, though it has a history behind it. Popular opinion has it that Peter Sellers, the greatest screen comedian of his day, began a lengthy descent from the clouds of his late '50s/early '60s apogee with this silly sex farce co-starring his then-wife, Britt Ekland.

Sure, "The Bobo" isn't brilliant, and clearly suffers from Sellers' Charlie Chaplin complex in that he portrays himself as something of a dupe (a "bobo," as is said in the movie) in upholding the honor of a supremely designing woman. But watching the film today is not unpleasant. It's no great laugh fest, but it is amusing in parts, and Sellers and Ekland have real chemistry. Sellers, just weeks away from death in 1980 and reacting to Ekland's harsh depiction of him in her tell-all auto, "True Brit," called the mother of his youngest child "a professional girlfriend and an amateur actress" and though uncharitable, that dig isn't without merit. It's just that there's more on offer in this one time we got to see the husband and wife paired up romantically on screen.

Sellers plays a singing matador named Juan Bautista, looking for his big break on the streets of picaresque Barcelona. Impresario Carbonell (Adolfo Celi), nursing a deep grudge against the tantalizing, unavailable Olimpia Segura (Ekland) who lives across the street from his favorite watering hole, offers Bautista a brief engagement - if the singer can bed her.

"The Bobo" starts with real promise, taking advantage of its Catalonian setting with an aerial shot of a Christ statue above the city of Barcelona with soaring musical accompaniment that promises much. The film itself starts slowly, with the setting of the bet between Carbonell and Bautista and a demonstration of Olimpia's gold-digging cruelty. Not many actual laughs, which is alright since it's not worth setting expectations you are in for a particularly funny movie when you aren't, but it's a start.

The middle section of "The Bobo" is good, though, at times brilliant. I'm thinking mainly of the flamenco dance in which Bautista, early on in his attempt to scam the lovely Olimpia, surrenders center-stage to one of the most amazing dances ever seen on screen. The dancer looks like Angus Young of AC/DC, but she is all woman, an arresting image of the throes of passion which totally grabs you and holds you by the throat as the camera lingers on her waist, her wrists, and the strands of caramel hair glued to her Angelina Jolie lips while her heels beat like the Four Horses of the Apocalypse. There's also a real funny exit line from Bautista, easily the best laugh in the film.

I'd just be tempted to say hack director Robert Parrish just got lucky there, but he shows more greatness in a sequence at a ritzy retreat where Bautista, improvising like a madman, makes up excuses for a non-existent count who is standing up an annoyed Olimpia. Great '60s ambiance abounds, especially when a fey majordomo played enjoyably by John Wells prances in to explain how everything works.

The film peters out after that, especially near the end when it comes time for Bautista and Carbonell to settle up. Celi was such a great presence in "Thunderball" you sort of know he was capable of more than the script allowed him here.

Other parts of the film are similarly weak. There's a pathetic journalist character played by Kenneth Griffith who is too unctuous and gross to be enjoyed, and Sellers presses the pathos button too much. Ekland's character is so nasty as to make her unlikable most of the time we are watching her, which takes away from the pleasure of her sexy presence more than it should. (Ekland does a good job in her thankless role, though, better than we have any right to expect.) But Barcelona in the later Franco era makes for a very exotic and enjoyable atmosphere, especially when accompanied by a gorgeous score.

Would that Sellers had been a reasonable man, realizing he wasn't best suited as a romantic hero but as a bumbler stealing the audience's heart. "The Bobo" has moments where he plays for laughs, and moments when he just vogues in a matador costume, and it's no trick seeing the difference and which is better. But I enjoy watching "The Bobo," and I suspect that, divorced from any great expectations, you will, too.

Peter Sellers stars with his then-wife, Britt Ekland, and Rosanno Brazzi in "The Bobo" from 1967.

The always funny Sellers plays a singing matador named Juan, who comes to Barcelona to make his fortune. He sings for an unimpressed local impresario (Adolfo Celi), who agrees to book him on one condition. Juan has to spend an evening with Olimpia (Ekland), a flirt who gets whatever she wants from men, including apartments and sports cars, and then she drops them.

Juan pretends he is the messenger of a wealthy count and works at seducing her.

Anything with Sellers is good, I think, but in this period of time he was going through some kind of identity crisis. He was married to beautiful Britt Ekland and trying to change his image somewhat. The movie isn't very good, but there is some fabulous dancing, music, and atmosphere, and chemistry between Sellers and Ekland. Sellers has funny moments as well.

The film has an unexpected ending which a lot of people did not like. I thought it fit. There's not much here, but if you want to see flamenco dancing like you'll never see it again, see this film for the nightclub scene.

Although many film critics are very quick to pan this film citing that is not 'classic Sellers', this film is indeed very charming. The story is to do with a young woman called Olympia, played by Peter Seller's wife at the time, Britt Ekland. Set in Barcelona, Olympia is the object of every man's desire and she has been responsible for the ruining of many a man. Enter Peter Sellers as Juan Bautista, the singing matador. His dream is to be the most famous stage performer in Barcelona. But to achieve this, his prospective employer sets him a challenge. If he spends one night in bed with Olympia, the first man to do so, he will make him a stage star. Juan takes the challenge but has only 3 days to do it. The film is reasonably funny in the methods that Juan uses to seduce Olympia. Sellers gives a very confident performance which makes it fun to watch. There is also an excellent scene with non-cliched flamenco dancing, which is actually so exceptional it seems so out of place in the film. This is not a classic film, however it will keep you entertained on a boring day.

As a lifelong Peter Sellers fan, I've seen this movie a few times even though I know the letdown is coming at the end. I'm always lured back by Sellers' performance here, proving once again he was one of the greatest actors in all the world. He plays Juan Bautista, a traveling singing matador who attempts to seduce the local flirt/bitch of Barcelona in exchange for a gig at the local theater. It is one of his most charming, touching, beautifully subtle performances ever, as the film takes you along their unusual courtship until he finally melts her heart and wins her over. At the point, the story takes an unexpected turn that is so shocking and so patently unfunny and so vile, I can't imagine what anyone connected with the film was possibly thinking when they made it. I am no sucker for happy Hollywood endings, but the end to this movie is so out-of-step with what we've just seen in the last ninety minutes that it just spoiled the whole thing for me. I still rate it as the worst movie ending of all time. As far the rest of it, Sellers and then-wife Britt Ekland (who never looked better) have some lovely scenes; their first date at a nightclub that features flamenco dancing really stands out. With a different finale, this could have been a rare gem in the Peter Sellers catalogue. As it is, it's just OK. 2 1/2 ** out of 4

I think this is one of Peter Sellers' best movies, along with "Dr. Strangelove...", "Only Two Can Play," "Two-Way Stretch," "A Shot in the Dark," "After the Fox," and of course the original Pink Panther...

Sellers is charmingly funny and Britt Eklund is deliciously stunning, and perfect for her role as a femme fatale who toys with men only to succumb to Sellers' rather pathetic efforts at courtship.

There are a number of creative and funny scenes but the "Hermitage" restaurant scene during Sellers' and Eklund's first "date" is especially maginative and hilarious...not to be missed.

Not a shoot-'em-up, but a rather lovely film with a great cast and great production values.