Paradiso, hôtel du libre échange

For anyone to disparage the long history of the farce (as someone did in their review here) just boggles my mind. The farce has a long and rich history.

For that same someone also to slip in a comment about how they dislike the entire country and culture of France, well, that says it all--about them. No need for me to point out (but I will) their location is in Texas. Sheeeesh.

I saw this particular farce (which stars one of the greatest British actors of stage/screen, mind you) many years ago and it left a vivid enough impression, simply as a well-made comedy, that I would have no hesitation about renting it again.

Worrying about whether one is 'understanding the farce' --or resenting the insecurity you may feel if you suspect that you don't understand the format--has nothing to do with it.

Watch films you like--don't watch films that you dislike, and you will never need any further defense than this. Personal taste is yours to command. Don't worry about fitting in with other people, worry about yourself.

I have seen some plays by Feydeau performed by amateurs. Feydeau was a very good writer. He was familiar with the lack of morals in the upper crust society, and he could make people laugh at it. He knew because he belonged there himself. It's recorded that he had one or two mistresses himself!

In this film adaption of one of his more famous plays, the costumes and set designs are very good. The period feeling is impressive. The acting is so-so. Guiness has the best part and does the best acting. Others try hard, but the results feel half-baked. I blame this on the direction, or more likely the lack thereof.

Fans of classic farce, screwball comedy and periodic portraits will be delighted. A couple of in-jokes related to Feydeau's works can be found which will please literature scholars.

In order to fully appreciate Hotel Paradiso, you're going to have to know it was based off a French play. If you didn't know that going in, you'd probably turn the movie off before the "weekend in the country" began. Now that you know it's based off a French play, you'll be expecting a wacky comedy of errors.

Within a block of houses in a Parisian town in the 1900s, there are quite a few couples having trouble. Gina Lollobrigida is married to Robert Morley, and she's upset that he always leaves her to go to work. Alec Guinness hates his wife, Peggy Mount, and he overhears Gina declaring she'll throw herself at the first man she comes across, just to get back at her husband. Through a series of fast-talking coincidences and awkward planning, Gina and Alec make plans to spend the night at the same hotel that Robert has been hired to inspect. Peggy is also staying at the hotel, to indulge in her secret double-life, and Gina's nephew is enjoying a rendezvous with a lowly maid. A houseguest Alec turned away is also seeking shelter at the hotel, so you can bet it's going to be a very busy evening.

Hotel Paradiso is a like-it-or-lump-it kind of movie. If you like these types of wacky sex comedies, you'll be wiping tears of laughter from your eyes. If you don't, you might not make it all the way through. To each his own, and while it wasn't my favorite comedy of the month, I can understand how much funnier it would have been to watch it unfold in a theater.

I never knew that Gina Lollobrigida and Alec Guinness had such knack for comedy. What a treat to see them in such a caper. This is a fast paced film with complex twists, interesting screenplay, endless surprises, good acting, and just great fun for the whole family. This is how comedies should be.

Georges Feydeau was the master of French farce. In 1957, British director Peter Glenville brought his London adaptation of one of Feydeau's best to Broadway's intimate Henry Miller's Theatre for 108 successful performances with an all star cast that included the great Bert Lahr and Angela Lansbury.

Nine years later, the same Peter Glenville brought his superb adaptation to the screen for MGM with Alec Guinness in the Bert Lahr role and Gina Lollorigida bringing her all too seldom seen comic timing (check out her wonderful 1961 boulevard comedy "Come September" with Rock Hudson and Walter Slezak) to the Angela Lansbury role. Even Broadway cast member Douglas Byng (as Martin, a barrister) was along for the fun.

Of COURSE the plotting is "strained" - that is virtually the definition of farce - but the laughs flow without reservation.

Americans don't often get to see good European style farce which relies on situations, intellect and language as much as physical comedy. When we DO get a great farce like "Arsenic and Old Lace" or Noises Off", it is usually devoid of all sexual content - as if sex (not dirt, but good clean sex with all the ironies and insecurities attendant) weren't among the greatest sources of farcical situations.

Glenville gives us Feydeau at his most elegant - which is to say unashamedly sexual (with would-be adulterous spouses, potential lovers and innocents in a waltz of slamming doors and crowded corridors at the titular hotel), at the same time keeping the proceedings intrinsically moral and (for those foolish enough to care) absolutely clean.

The Belle Epoche settings fairly sing with civilized delight, and the brilliant farceurs like Robert Morley and Derek Fowlds (later known for his third lead in the brilliantly observed "Yes, Minister" and "Yes, Prime Minister" TV series) join the leads in a collective tour de farce.

Watch for Glenville himself in the unbilled role of Feydeau, observing and "writing" the proceedings, but by all means watch. This is all a stage to film transfer should be. You'll have a lovely time and feel the better for it.