“I suppose that when you spend most of your life in one profession you develop what could be called an occupational point of view.”
Write what you know. Isn’t that the classic line of advice offered to all budding scribes? When Humphrey Bogart’s character speaks those words above as the camera pans on the opening scene of The Barefoot Contessa (1954) there is at the very least a flavor of that sentiment on display. And if Hollywood knows anything, it surely knows about the path to fame and about each and every pothole mining the route that leads there. Self-awareness, so long as it’s kept on a short enough rein to prevent its spinning off into self-indulgence, can be healthy; it grants perspective and that along with what I can only term soul are the essential ingredients of creativity. So “Hollywood on Hollywood” has been a productive sub-genre over the years, permitting the movies and their makers to take a look at themselves and inviting the viewer to peel back a corner of the mask for a glimpse of what lies behind. Such films generally fall into two categories, ranging from the celebratory to the acerbic. The Barefoot Contessa lands somewhere in the middle, perhaps because it is itself a story pitched halfway between Hollywood exposé and a meditation on fate.
That air of fatalism pervades the movie, right from the rainswept introduction in an Italian cemetery, where a pensive Harry Dawes (Humphrey Bogart) casts his mind back over the few short years when he came to know the titular character. He stands a little apart, slightly detached from the other assorted mourners, although all of them are separated from each other in pairs and little clusters. This detachment is somehow appropriate, as fitting in its own way as the low key setting of this last farewell. These people have gathered to pay their respects to Maria Vargas (Ava Gardner), a one-time flamenco dancer from the back streets of Madrid who would later find fame on the screen as Maria D’Amato, before ending her life as the Contessa Torlato-Favrini. It’s appropriate because although the movie traces the brief rise and fall of Maria Vargas everything that is shown is filtered through the perceptions of others, those who tell her story to the viewer. Harry Dawes does the lion’s share of the telling, he was the one who was credited as having “discovered” her or mentored her in any case. As we segue into a flashback to the club in Madrid where Maria dances by night, the tone is set with great deftness. Her dancing is never observed, only the reactions of the audience provides a sense of her. While the camera roves around the assorted patrons, it becomes clear the woman who holds them all rapt is offering a reflection of what they all feel – the responses vary from frank admiration to surreptitious desire, as love, passion, frustration and shame flash across the screen and the faces of the assembled watchers in waves. And then it’s over, the dance is done and the star vanishes back to her own privacy as the beaded curtain swings back into position.
In what might be taken as a subtle dig at Hollywood forever playing catch-up with regard to popular trends, no sooner has the main attraction vacated the stage than the people from the movies arrive. The aforementioned Harry Dawes is tagging along with Kirk Edwards (Warren Stevens) a buttoned up producer reminiscent of Howard Hughes, Oscar Muldoon (Edmond O’Brien) whose glittering eyes and glistening face speak of perspiration and PR, and a burnished blonde courtesan by the name of Myrna (Mari Aldon). Kirk Edwards is a mean vulgarian, a shell of a man high on his own sanctimony and motivated only by the manipulative power of the dollar. He has flown his entourage all the way to Spain to see Maria Vargas dance and maybe offer her a contract. And now he has arrived too late, but such a man cannot countenance this kind of ill-fortune. He orders, savoring the humiliation the whole process entails, first Oscar and then Harry to fetch the aloof dancer to his table. While Oscar sweats and schmoozes Maria out of agreeing to a screen test, Harry is left with literally no option but to track down and persuade her to change her mind. Where Oscar’s sweat failed, Harry’s sincerity triumphs and Maria is on her way to stardom.
Exit Harry, temporarily. And enter Oscar, the vacuous nature of the publicity man firmly to the fore as he takes up the narration, charting the course of a life and spirit he freely admits he could never quite fathom. Of course Oscar doesn’t do depth, he does his master’s bidding. Partially due to the liberating effect of being around a woman who has no time for the fakery and front that stardom seems to demand, he sees his world view shifting ever so slightly. His remit is to guide us through the downfall of Kirk Edwards and Maria’s move on to the next phase of her life as the principal exhibit of Alberto Bravano (Marius Goring), a Latin playboy with no discernible character. This is a shorter interlude, a stepping stone on the way to Maria’s ultimate destination. Soon, the tale is taken up by Vincenzo Torlato-Favrini (Rossano Brazzi), the tortured aristocrat who is tragically incapable of real love, able only to venerate and deify. It is he who commissions the marble statue of Maria that will ultimately mark her final resting place, a cold approximation of beauty that is as cold and blank as his own helpless passivity.
Ava Gardner’s Maria Vargas drifts through the movie, and I use that term quite deliberately. As I said, at the beginning, the story is deeply fatalistic. Both by her words and her actions the lead character is presented as a woman unable to, or perhaps unwilling to, completely break from the past and take command of her destiny. The whole barefoot business ties into this, an explicit acknowledgment that the past is an integral part of oneself, functioning either as a brake on ambitions and aspirations or as a means of grounding one in reality. I don’t say this is a philosophy I particularly sympathize with, but it is there, it defines the whole mood of the piece and is well realized. Ava Gardner’s performance here is key to that realization and is almost a subversion of her typical screen persona. Earthy is the word that frequently springs to mind when I think of her rather than ethereal yet it is the latter quality which she conveys throughout much of the film. Sure she has her moments of fire, but she never allows her natural vigor to overshadow that acceptance of a life directed by the golden threads of the Moirai.
The Barefoot Contessa is not a film that works for everybody, maybe due to that air of languor that grows out of its core fatalism. Then again it might be the wordiness of the script that bothers some, but I’d argue that anyone knowingly approaching a Joseph L Mankiewicz film and finding that aspect an issue ought to know better in the first place. Personally, I’m inclined to think that the third act, that beautifully shot and achingly poignant Italian interlude is most problematic. It is not a question of where the film is going or even where it ends up that hurts it, rather it is the playing of Rossano Brazzi that I think takes the edge off it all. Although I’ll concede he gets the futile desperation of his character across, I don’t think Brazzi was ever the most magnetic presence at the best of times and that becomes an issue here. It is undoubtedly a tricky part to carry off, but I just do not see him as the object of Gardner’s grand passion, the man who has that something which she never found elsewhere. Without that, one of the main props of the story is seriously weakened.
Bogart’s name was top of the bill and his bookending of the narrative is nicely judged. His later films weren’t always all they could have been, even if his own work was as strong as ever for the most part. His peak years were often characterized by that tough insolence that has spawned so many imitators, but he had more to him than that when he wanted or was allowed to show it. The Barefoot Contessa lets him reveal a warmer side than usual. Even if it’s tempered by the weariness and regret that came easily to him, there is an empathy on display which is very attractive. In support Edmond O’Brien sweet talked his way to an Oscar playing Oscar; there’s a degree of showiness as there nearly always is with award winning turns and he makes what is on paper a pretty miserable character more appealing than he probably ought to be, still it’s an engaging and memorable bit of work. Warren Stevens achieves an almost reptilian stillness as the soulless tycoon and it’s fun seeing him face off against a very theatrical Marius Goring in their big confrontation scene. Valentina Cortese, Elizabeth Sellars and Mari Aldon all have their moments even though their parts are relatively minor.
The Barefoot Contessa got a Blu-ray release in the US from the now defunct Twilight Time and then later in the UK via Eureka. I have that UK BD which now appears to have gone out of print and it’s a fine looking transfer of the movie that makes the most of Jack Cardiff’s beautiful cinematography. I don’t always mention scores or soundtracks, which I know is remiss of me, and so I want also to take the opportunity to draw attention to Mario Nascimbene’s evocative work on the movie. I wouldn’t want to claim The Barefoot Contessa is a flawless work as I am aware that it has its weaknesses and doesn’t appeal to all. However, it is and has long been a favorite of mine, ever since I stumbled on an early evening TV broadcast nearly forty years ago.
Well, that about wraps it up for 2023. I’d like to say thank you to everybody who came along for the ride over the last twelve months. Here’s to 2024 and here’s hoping it brings peace and happiness to us all. Happy New Year!
Riding the High Country 
Nice write up my good fellow. This is one I really to get into the re-watch pile. It has been at least 15-20 years since I last took it in. I mean how can one go wrong with, Ava Gardner, Edmond O’Brien and Humphrey Bogart all in the cast.
Gordon
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It’s a film that stuck with me from my first viewing so I’m obviously going to say you should certainly give it another watch. It’s a real mood piece, and terrific if you catch it in the right mood.
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Other than Edmond O’Brien’s work, I thought The Barefoot Contessa, sluggish to the point of being self important. Bogart is not, other than the half dozen or so forties films, and you can guess what they are, a pass. Oh, Merry Christmas, Happy New Year to all, and talking movies, good, bad or indifferent, is always fun.
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I figure it’s not a film that is to everyone’s taste, and it does drift a little here and there.
Happy New Year.
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Colin
You mention Marius Goring and who should pop up on one of my channels but Mister Goring. He was doing a seven episode series of DR WHO from 1967 called THE EVIL OF THE DALEKS.
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A bit of research tells me that is one of the episodes of the series that only partially exists and has been reconstructed using animation.
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Colin
The Dr Who set with Goring I watched was stitched together with bits from animation, production stills and some jumpy live footage. There is nice bit of live footage up on You-Tube from one episode of this set.
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Excellent review. Love Bogart. Need to pick this one up. Happy Holidays!
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I’m not sure how easy it is to source the Blu-rays at this point, but it does look very good indeed in HD. Hope 2024 is good to you, Chris.
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When I saw parts of it in HD on TV it had good color and was nice to look at. Speaking of Bogart and Gardner maybe one day you could review ‘The Caine Mutiny’ with Bogart and ‘Seven Days in May’ with Gardner. Two of my favorite military related movies and views of human nature.
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I’ll keep that in mind. Those are two really good films that I’ve always liked and haven’t seen for a long time.
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Maybe another film I need to take a chance on. Story line doesn’t appeal at all. Marius Goring as a Latin playboy – that’s some stretch!
Here’s to a peaceful 2024 though I’m not hopeful.
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I tried to give an honest assessment of it here. I don’t want to oversell it, but nor am I keen on underselling it. The cast is strong, Jack Cardiff’s cinematography is gorgeous at times, I like Nascimbene’s score and of course it’s a Mankiewicz film. Personally, I think it’s worth watching, but I obviously can’t predict how anyone will respond to it.
For a lot of reasons I’ll not be sorry to see the back of 2023, and I too hope the year to come brings better times for all.
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Wishing You and Yours the best of the Season and into the New Year Colin.
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And the same to you JC. Happy New Year.
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Happy New Year everyone here and away, and a belated but sincere Merry Christmas.
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Merry Christmas, Colin! Hope it’s a very happy new year. I am a big Mankiewicz fan and this film has most of his virtues and a great cast. I know what you mean about Brazzi, in his few English-language films he often comes across as inherently weak (even THE ITALIAN JOB), though it is part of the role here (SUMMERTIME is a good companion to this) – the ending is unusually melodramatic compared with the writer-director’s previous works and it does hurt it a bit, no question (ditto the censorship of the day). I have the same Blu – didn’t realise it was OOP, shall guard it safely!
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Re Brazzi: I do have a copy of Summertime though I haven’t watched it yet. I thought his role in Three Coins in the Fountain was a good fit for him.
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When I find out one of my prized Blus is OOP I wonder if I should put it in a safe deposit box!
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I’ve noticed a few of mine have gone OOP of late, always titles whose licenses have expired.
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Speaking of Bogart films. I watched We’re No Angels -1955 on Christmas day. I take this one in every year. Bogart, Aldo Ray, Joan Bennett, Leo G Carroll, Basil Rathbone and Peter Ustinov headline this X-Mass classic set on Devils Island. Might not be everyone’s cup of tea, but I love it.
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Gord, I share your fondness for that movie, an unusual but very successful blend of whimsy and dark humor with real heart. It’s so well cast, so beautifully played by everyone, and the pacing and direction are just what you’d expect from Curtiz.
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I was lucky enough to get the 4K Blu ray of ‘Maltese Falcon’. Honestly I thought it looked incredible watching it the other day. Sounded nice too. It was like Bogart and friends were enacting the drama in my living room. Amazing how these films can look these days! Wonderful Christmas present to receive as a Bogart fan.
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Is it a big advance on the regular Blu-ray? Just curious as I was quite impressed with how good the regular BD was when I got it. Mind you, the movie has tended to look good on all formats, the DVD was fine and I seem to recall the VHS being quite acceptable back in the day.
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All true that Falcon always looked good, but better than ever now.
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The stuff that dreams are made of…
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Yes I was quite impressed and as good as the Blu was (is) the 4K takes it up a notch. It is from the original camera negative and to me looks good as new. I was drawn into all those wonderful faces once more. Pretty fab.
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I have the old Maltese Falcon DVD release that also includes the excellent 1931 pre-code version as well as the lamentable 1936 version, Satan Met a Lady. I don’t suppose they were generous enough to include those versions as well on the 4K release? The 1931 version is a must-see – very different from the ’41 version but in its own way just as good.
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No they were not. They should be but they continue to let it slide. They should let the wonderful Warner Archive at least do a double feature Blu ray on the two previous versions. Make the fans happy!
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R.I.P.
Actor Tom Wilkinson has left us today. A superb all around actor equally good at both comic and dramatic roles. He will be missed. He was 75.
Gordon
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Sad to hear that. Ever since I saw him play Cornwallis in ‘The Patriot’ I was glad to see him in a film. Talented man.
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Beautiful writing, Colin. I revised my estimation of TBC five years ago, bumping it up a couple of slots in my 1 -10 rating system. I started watching it again and was mesmerized by the scene in the Madrid nightclub. It’s superbly choreographed and edited. Then there were the performances of O’Brien, Marius Goring, and Bogart. In her small role, I thought Mari Aldon was perfect. This is a film that I once looked down upon that I now admire.
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Frank, that nightclub scene really does seem to get better all the time, a triumph for the filmmakers. I’m with you too on Aldon, such a small role yet it’s made so memorable by her well judged playing.
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Ido not care for the material, or most of the performances at all, but your comments above about the nightclub scene ring true, and there are other are other effective moments, but who cares about these neurotic and unwholesome non-entities.
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R.I.P.
Glynis Johns, the husky-voiced British actress has died at the age of 100.
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A great age, and a distinguished career going right back to the 1930s. RIP
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Yes, adorable and talented. Loved her work.
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Johns was nominated for Best Actress in a Supporting Role for her bit in 1960s THE SUNDOWNERS. Time to dig this one out for a re-watch.
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I find Mankiewicz to be a bit hit-or-miss as a director. I do like some of his early directorial efforts – The Ghost and Mrs Muir is excellent and Somewhere in the Night is a pretty decent noirish effort. And I really do love Dragonwyck.
Some of his later efforts, not so much. I think he started to take himself too seriously.
Sleuth is fun but very very very stagey. Which I think is true of quite a few of his movies.
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Do you like his Western from 1970 ‘There was a Crooked Man…’ with Kirk Douglas and Henry Fonda plus other greats? I like it well enough if cynical as all get out. The WAC has a fantastic Blu of it. Perhaps Colin may review ‘Crooked Man’ someday?
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Barring The Late George Apley, I’ve seen everything Mankiewicz made up until Cleopatra. The latter has parts of a good movie within it but it’s far too long and I find it fascinating mainly as an exercises in scale and excess. He had a remarkable run up till that point and the two Oscar winning pictures are deserving of their honors. After Cleopatra the only one of his movies I’ve seen is Sleuth, and I’ve viewed that multiple times as it’s a real favorite of mine.
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I have seen The Late George Apley, I did that so no one nice will have to do it.
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That’s the first piece of feedback on the movie I’ve come across. It seems to be available to view online and I might give it a look some time if I’m at a loose end.
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Sad news. David Soul has passed away. Everyone mentions ‘Starsky and Hutch’ but I usually remember him as one of the corrupt young cops pitted against Dirty Harry in ‘Magnum Force’ and across from the great James Mason in ‘Salem’s Lot’. Soul was 80.
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Yes, this is sad news. You’re quite right to highlight those other roles, which were certainly as good and probably better than his star making turn.
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I watched ‘Magnum Force’ during the holidays. LOL Good film
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There’s a good anecdote about ‘Magnum Force’ that Robert Urich (also one of the corrupt cops) tells: After the scene where they try to scare Dirty Harry into joining their cause they voom away. Well they ended up crashing their bikes together in a heap. Eastwood cooly walked up to them and asked “Who am I going against? The Keystone cops?”. Classic.
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Thanks Chris for that tidbit.
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Colin THE QUIET AMERICAN is released on Blu Ray by Germany’s Explosive Media in March.As far as I know the only other version was the now OOP Twilight Time version.
As you seem to be a Mankiewicz completist have you seen ESCAPE (1948) a minor film but very good.
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John, thanks for that information on the forthcoming release of The Quiet American. I was completely unaware of that and I’ll certainly be picking up a copy.
I have seen Escape and liked it but I don’t think there has been a disc release of the movie anywhere.
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Off topic, but jeepers, they are calling for minus 36-40 C here by Thursday or Friday. Regular T-shirt weather! Oh, my poor back and knees!!!!!!
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