La comtesse aux pieds nus

If there were any more beautiful women ever walked this planet of our's than Ava Gardner, they must have existed long before Thomas Edison invented the movies. Else they would have been film stars.

Maris Vargas is so different from the real life Ava. She's a silly girl filled with romantic notions and isn't about to give in to anyone unless it's for love.

When we meet her, she's dancing in a Spanish cafe and being eyed by Warren Stevens who's playing Kirk Edwards a not so veiled portrait of Howard Hughes who did in fact have the real Ava on his short list of desirable conquests. Stevens wants to sign her, but also to bed her. One doesn't go without the other.

Screenwriter Harry Dawes played by Humphrey Bogart foils Stevens's plan by having other producers view her test. With a bidding war on, Stevens has to sign Ava on her terms.

Ava doesn't give it up for Stevens and later neither to international playboy Marius Goring. Goring's character is based on Dominican diplomat and legendary lover, Porfirio Rubirosa. That's a story that would rate a film. I can see Antonio Banderas in the part.

She finds herself finally with Italian count Rossano Brazzi and she's sure this is it. But Brazzi has a terrible secret and Ava's efforts to deal with it bring nothing but tragedy.

Humphrey Bogart is top billed, probably as per his contract. But the film is really Ava's show. You won't easily forget her as Maria Vargas.

Edmond O'Brien won a Best Supporting Actor that year as sweaty press agent Oscar Muldoon. His is a profession that inspires cynicism by nature, yet O'Brien proves to have a lot more character than originally thought. O'Brien was up that year against Tom Tully from The Caine Mutiny and Karl Malden, Rod Steiger, and Lee J. Cobb from On the Waterfront. Of course those three split the vote and O'Brien was the lucky beneficiary.

Warren Stevens got his first real notice in The Barefoot Contessa and Marius Goring probably has his best film role of his career as Alberto Bravano the thinly disguised Rubirosa.

It's a sad tale and a cautionary one against silly romantic notions.

When a movie opens with the funeral of the main character, you know you are in for a long, sad ride. Really long, in this case – the movie clocks in at two hours. With the inevitability of a tragic death fixed at the opening, it's hard not to see the entire film through filter of sadness.

The Barefoot Contessa follows the rise, perpetual dissatisfaction and demise of a beautiful, charismatic Maria Vargas, a young Spanish woman played by Ava Gardner. A powerful wall street type turned movie backer wants her to be the new face and visits her in her small village, dragging along a PR man, the director and washed up actress. There are two narrators – a little confusing at times – but most of the movie is relayed from the perspective of Humphrey Bogart, a sad sack, world weary writer/director (in a mythical time when writers were as famous as the stars). He was great, as always, and Gardner was good but lacked oomph for someone supposedly able to set the world on fire.

I think that was due mainly to the direction, she wasn't allowed to sparkle; quite the opposite, she was prohibited from shining. The odd thing about the movie is how much of her action happened off screen. When Hollywood arrives in her village to see her dance, we only see her hands clicking castanets. When she has a screen test which dazzles jaded directors and, we don't see it. When she makes three movies, we never see her on set or even get a hint of what she was like in the movies. When she rises to the top of the celebrity mountain with legions of adoring fans, we don't see them or even understand why. In fact, all she really does is mope around and wait for her demise. The only time she is allowed to partially captivate is during an odd scene where she hand-dances at a Gypsy camp.

It must have been intentional, and added to the doomed mood throughout. Instead of the details, instead of watching a small town girl lose her innocence (though she always seemed quite confident, self-possessed and resigned to her fate) we see the outcomes -- cruel people growing crueler, the dehumanizing effect of fame and redemption for a few characters (Bogart's character finds true love after three marriages and manages to kick the booze habit for good). Mostly we see barefoot Ava, drifting through life, never able to let herself be happy, or fall in love, or enjoy success, or even laugh. And we are never really able to understand why. The opening shot shows that she is doomed and I was never able to shake that inevitability throughout.

Still well worth the time.

-- www.cowboyandvampire.come --

"The Barefoot Contessa" is a greatly underrated film--which is rather surprising, when you consider the amount of talent involved. First, there's the brilliant script by Joe Mankiewicz, who was always at his best when dissecting Hollywood and its denizens. The movie's best scene may be the Hollywood party where Kirk Edwards gets his comeuppance, all booze, boredom and viciousness ("What she's got, you can't spell. And what you've got, you used to have."); although the scenes of the pathetic/glamorous European jet set are also excellent, the way Mankiewicz can create a small line or gesture that delineates an entire character. Really, the only time his touch fails him is toward the end, when Maria meets her Count and things get a bit melodramatic.

Also magnificent is the cinematography by the always-brilliant Jack Cardiff, who invests everything with color-drenched glamour. (Did you know that, along with shooting such visual masterpieces as "Black Narcissus," "The Red Shoes" and "Pandora and the Flying Dutchman," Cardiff was also the cinematogrpaher on "Rambo: First Blood." Yikes.) Edmond O'Brien won a well-deserved Academy Award for his portrayal of the sleazy PR man Oscar Muldoon, managing to bring hints of depth and dimension to a character that could have easily been pure caricature. Another fine, if brief, supporting turn comes from Mari Aldon as Edwards' long-suffering mistress, Myrna (especially her "I'm just a scared tramp" exit line).

Still, what makes this film work is the presence and performance of Ava Gardner. See "The Barefoot Contessa" and you will understand why many have thought her to be the most beautiful woman ever to grace the screen. She is simply breathtaking. Ava's appearance alone is enough to give credibility to Maria Vargas' legendary magnetism--and, without that, the whole film would fail, as it's really just about three men standing around one woman's coffin, wondering that made her tick--but it's her work as an actress that raises the character from beautiful blank to irresistible enigma. Even when her dialogue is a bit trite and soap-opera, she manages to make it believable by making shallowness appear to conceal depth (if you get what I mean), and even does a fine job with the accent. This was the film that earned her the tag "the world's most beautiful animal," but Ava Gardner was much more than that.

Was really intrigued into seeing 'The Barefoot Contessa'. Joseph L Mankiewicz was responsible for 'All About Eve', which is one of my all time favourite films, and when you have the likes of Ava Gardner, Humphrey Bogart and Edmond O'Brien one does expect a lot.

'The Barefoot Contessa' was disappointing. It is a long way from an awful film and has several very good things, but with such a talented cast and a director who was really good when he is in his prime it could have been so much more. Can totally see the polarising reactions on both sides, while 'The Barefoot Contessa' has a good deal to admire (more so than has been given credit for) it is not going to appeal, and has not appealed, to everybody. 1954 saw some great films, 'Rear Window', 'On the Waterfront', 'A Star is Born', 'Sabrina', 'Dial M for Murder', 'White Christmas' and '20,000 Leagues Under the Sea', 'The Barefoot Contessa' to me just isn't in the same league.

Starting with what is good about 'The Barefoot Contessa', it looks great visually with beautiful autumnal cinematography and sumptuous costumes and settings, the very meaning of extravagant. The music score from Mario Nascimbene is lush and subtly done. There are some cracking lines and there is evidence of sincerity. Was very surprised at how daring and ahead of its time it was.

Ava Gardner lives up to her glamorous "the world's most beautiful animal" image and character and is positively luminous and graceful, she is very much in her prime here. Late-career Humphrey Bogart, rightly regarded as a cultural icon who died far too soon (only three years later), is as commanding as ever and not only the best actor in the cast but also one of the film's strongest elements. Edmond O'Brien is deliciously oily and in his best moments on dynamite form. Warren Stevens is very good too.

Rossano Brazzi was the weak link however in the cast, his role has little if anything to it and the only thing Brazzi brings to it is handsome looks, everywhere else he's very wooden and dull. Mankiewicz really is not at his best in the directing, he delivers on the style but elsewhere it's pedestrian and uninspired.

His writing fares even weaker, despite some moments of sincerity and cracking lines the acerbic wit that sparkled in 'All About Eve' four years earlier does not come through enough. Most of the film is too talky and rambling, as well as overwrought, flimsy and too rehearsed. The thin and sometimes muddled story does suffer from dull pacing that rarely fires on all cylinders and an overlong length, and feels both overblown as a result of being overwritten and bland due to the lack of depth to the writing and characterisation. Despite the great efforts of the cast the characters are under-explored and don't have much to allow us to connect properly with them.

Overall, beautiful but uneven. 5.5-6/10 Bethany Cox

This starts very well, more than a little reminiscent of Sunset Boulevard, with initially Humphrey Bogart as the narrator. This is probably one of Bogart's finest performances, certainly his is a stand out performance in this fairytale romance that can never have a happy end because that is where we come in, in the graveyard. Ava Gardner is good, I don't know about the claims as to her fabulous beauty, Blue Ray does her no favours, exposing the thickness of make-up but her costumes also seem most constricting and unflattering. But she puts in a good performance, especially in her scenes with Bogart. It is just a shame that the promise at the start of some Hollywood expose and an attack upon the bullying and abusive producers comes to nothing and we talk once more of Cinderella. The last act could lose twenty minutes easily and indeed I would remove the entire performance of Valentina Cortese as the Count's sister who does not help at all as we descend into an appalling Hollywood cop out ending. Remains watchable, however, for the first half, Ava's early scenes and the complete Bogart performance only a couple of years before his death.