The Barefoot Contessa


2h 8m 1954
The Barefoot Contessa

Brief Synopsis

A Spanish dancer becomes an international star but still longs to get her feet in the dirt.

Film Details

Genre
Drama
Release Date
Oct 1954
Premiere Information
New York opening: 29 Sep 1954
Production Company
Figaro, Inc.
Distribution Company
United Artists Corp.
Country
United States
Location
Portofino,Italy; Rome,Italy; San Remo,Italy

Technical Specs

Duration
2h 8m
Sound
Mono (Western Electric Recording)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.37 : 1

Synopsis

At a cemetery on the Italian Riviera, film writer and director Harry Dawes attends the funeral of Countess Torlato-Favrini, known to the world as film star Maria D'Amata. Harry remembers how they met when he was a recovering alcoholic and had been signed by ruthless, Wall Street financier Kirk Edwards to write and direct Edwards' first venture into film production: In the company of Edwards, his then girl friend Myrna and Edwards' obsequious press agent Oscar Muldoon, Harry visits a night club in Madrid, Spain, in search of a new actress to star in their film. After they see the beautiful, sensual Maria Vargas dance, Muldoon is dispatched to bring her to their table, but Maria declines the invitation, stating that she does not dally with the club's clientele. Edwards then threatens to cancel the production unless Harry persuades her to change her mind. Maria is unwilling to cooperate until Harry mentions his name, which she recognizes and respects from films she has seen, and agrees to meet Edwards. After the unctuous, constantly perspiring Muldoon tells Maria that they want her to shoot a screen test in Rome, Maria excuses herself to make a phone call. When Harry discovers that she has left the club, Edwards tells him that he and Muldoon will be leaving in his private plane in an hour and orders Harry to bring Maria to the plane or not come at all. Harry traces Maria to her parents' home, where she tells him about her impoverished childhood during the civil war and how she often had no shoes, hence her choice to go barefoot still on occasion. She also tells Harry that she hates her virago of a mother. After Maria's very successful screen test, Harry tells Edwards, whom Maria does not like, that she will work only with him as her director, although no contract exists between them. Back at the rain-drenched funeral, in front of a statue of the barefoot Maria, Muldoon remembers how she, now Maria D'Amata, came unescorted to the premiere of her first film: Later, while in London to arrange the film's British opening, Muldoon learns that Maria's father has murdered her mother and is concerned that the publicity could ruin her career. Maria, however, returns to Spain and delivers an impassioned defense of her father, who is acquitted. Because of her honesty and humanity, Maria becomes a bigger star than before. Two years later in Hollywood, Edwards hosts a party to impress South American millionaire Alberto Bravano, who lusts after Maria, whom Edwards regards as his personal property, although she still actively dislikes him. Maria tells Harry that she is grateful for the three films they have made together but is not happy and yearns to return to Madrid. After Bravano invites Maria to travel to the Riviera with him, Edwards forbids her to go, but she leaves with Bravano anyway. Muldoon, ever the opportunist, quits Edwards and joins Bravano. He relates how Bravano never got close to Maria, but appeared contented just to have the world assume that they were lovers. Bravano and Maria become part of the "International Set" on the French Riviera, although she has no interest in their inconsequential activities. One night, at a casino, Bravano publicly accuses Maria of having broken his lucky streak at the gambling tables and causing him to lose millions of francs. While Bravano is berating Maria, a count from an old, Italian family, Vincenzo Torlato-Favrini, approaches him and gallantly slaps him, then invites Maria to leave with him. Vincenzo relates the next part of Maria's story: Earlier that same day when he stops at a gypsy encampment to get water for his car's radiator, he sees Maria dancing and becomes enchanted by her. Later, at the casino, he sees Maria throw money from a balcony to a supposed gypsy lover below. Now, in his car outside the casino, Vincenzo surprises her by asking her name, for he seldom sees films and has no idea that she is famous. They drive to his magnificent villa, where Vincenzo introduces her to his widowed sister, Eleanora. After Maria and Vincenzo fall in love, Vincenzo, obsessed with continuing his family history by bequeathing an image of them as count and countess, informs Eleanora that he wants to marry Maria. Eleanora is shocked and tells Vincenzo that would be senselessly cruel and destructive to Maria. Vincenzo is among the mourners at the cemetery as Harry continues to relate the last act of Maria's "Cinderella"-like life: Six weeks after Maria and Vincenzo met, Harry returns to Italy to make another film, in which Maria does not appear. When they meet, Maria tells Harry that she is very happy and is about to marry Vincenzo, but confides that they have not yet been sexually intimate. Harry substitutes for Maria's father at the wedding ceremony but is uneasy, realizing that she has never really been in love before, her prior amours having been perfunctory, clandestine affairs with lesser men. Several weeks pass and, a week before her death, Maria visits Harry, breaks down and relates the events of her wedding night: After both profess great love for one another, Vincenzo confesses that he was severely injured in an explosion during World War II and is unable to have sexual relations. Maria tells Harry that she intends to make Vincenzo happy by providing him with a child to continue his family line and that she is already pregnant. Harry is alarmed by the news, but Maria tells him that she intends to end the relationship with the father, whom she refuses to identify, that night and tell Vincenzo about the baby the following day. When Harry watches Maria drive away, he sees another car follow her. Concerned for Maria's safety, Harry drives to the villa but arrives too late to prevent Vincenzo from shooting both Maria and his chauffeur, having assumed that they were having an affair. When Vincenzo asks Harry what he and Maria talked about earlier in the evening, Harry chooses to say that they were just talking over old times. Harry then asks Vincenzo if Maria said anything before he shot her. When Vincenzo states she did not, Harry falls silent, revealing nothing about Maria's pregnancy. As the funeral ends, the rain stops and the sun illuminates Maria's statue as Vincenzo is led away in police custody and the mourners depart.

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Movie Clip

Trailer

Hosted Intro

Film Details

Genre
Drama
Release Date
Oct 1954
Premiere Information
New York opening: 29 Sep 1954
Production Company
Figaro, Inc.
Distribution Company
United Artists Corp.
Country
United States
Location
Portofino,Italy; Rome,Italy; San Remo,Italy

Technical Specs

Duration
2h 8m
Sound
Mono (Western Electric Recording)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.37 : 1

Award Wins

Best Supporting Actor

1954
Edmond O'Brien

Award Nominations

Best Story and Screenplay

1954

Articles

The Barefoot Contessa


After turning his biting wit loose on the Broadway stage for All About Eve, which brought him Oscars® for Best Director and Best Screenplay, Joseph L. Mankiewicz took on Hollywood with The Barefoot Contessa (1954) a scathing look at international stardom and jet-set society. As with other show-biz sagas like Valley of the Dolls (1967) and The Bad and the Beautiful (1952), the film left fans and industry insiders buzzing about whose lives were really being dissected on-screen. Some even suggested that the film's leading lady, Ava Gardner, was actually playing a fictionalized version of herself. Far from being the model for her character, however, Gardner wasn't even first choice for the role.

The film's title character - a woman who rises from poverty to become an international sex symbol and marry into royalty while always keeping her feet in the dirt - bore some superficial resemblance to Gardner, who started life as a sharecropper's daughter. But Mankiewicz had really modeled the role on Margarita Cansino, the Latin dancer who achieved stardom as Rita Hayworth and briefly deserted the screen to marry Prince Aga Khan. There were incidents drawn from Gardner's life, however. Her character's relationship with the eccentric billionaire who discovers her was similar to Gardner's affair with Howard Hughes. When Hughes found out during post-production, he threatened a massive lawsuit unless certain line changes were made. Mankiewicz protested that it would be impossible to re-dub the dialogue with his cast and crew now scattered over three continents. So Hughes, who owned TWA, gave the film's editor a letter allowing him to claim any seat on any of the airline's flights, and the changes were made.

Originally, Mankiewicz had planned to cast an unknown in the female lead, but after looking at the young Joan Collins and Rosanna Podesta, he decided to go with a star. With her exotic beauty and earthy sexuality, Ava Gardner quickly emerged as the only possible choice. There was just one problem. She was under contract at MGM, where Mankiewicz had just made Julius Caesar and burned a few bridges. When he approached them about borrowing Gardner, they stuck him for $200,000 - twice what he was paying the film's top billed star, Humphrey Bogart - plus ten percent of the gross. Gardner ended up costing Mankiewicz $1 million, while MGM only had to pay her contracted weekly salary, which came to $60,000. But she was well worth the cost when she contributed some of the most memorable scenes in the film - and her career - in particular, a flamenco dance to the film's best-selling theme. Although she had never danced on screen before, Gardner rehearsed the number for three weeks. When the playback machine broke during filming, she didn't miss a step, dancing as the extras clapped out the beat.

One cast member was always Mankiewicz's first choice. He had loved working with Edmond O'Brien on Julius Caesar (1953) and delighted in his clowning between scenes. That inspired him to create the role of press agent Oscar Muldoon. At first O'Brien wasn't sure about taking the supporting role. He was getting star billing at the time. But Bogart convinced him that the role and he were a perfect match. They were indeed. O'Brien was the only member of the high-powered cast to win an Oscar® nomination (Best Supporting Actor) and went on to become the only actor to win an Oscar® for playing a character named Oscar.

Director/Producer/Screenwriter: Joseph L. Mankiewicz
Cinematographer: Jack Cardiff
Composer: Mario Nascimbene
Editor: William W. Hornbeck
Art Director: Arrigo Equini
Associate Producer: Michael Waszynski
Costume Designer: Sorelle Fontana
Cast: Humphrey Bogart (Harry Dawes), Ava Gardner (Maria Vargas), Edmond O'Brien (Oscar Muldoon), Marius Goring (Alberto Bravano), Valentina Cortese (Eleanora Torlato-Favrini), Rossano Brazzi (Vincenzo Torlato-Favrini).
C-131m. Closed captioning.

by Frank Miller

The Barefoot Contessa

The Barefoot Contessa

After turning his biting wit loose on the Broadway stage for All About Eve, which brought him Oscars® for Best Director and Best Screenplay, Joseph L. Mankiewicz took on Hollywood with The Barefoot Contessa (1954) a scathing look at international stardom and jet-set society. As with other show-biz sagas like Valley of the Dolls (1967) and The Bad and the Beautiful (1952), the film left fans and industry insiders buzzing about whose lives were really being dissected on-screen. Some even suggested that the film's leading lady, Ava Gardner, was actually playing a fictionalized version of herself. Far from being the model for her character, however, Gardner wasn't even first choice for the role. The film's title character - a woman who rises from poverty to become an international sex symbol and marry into royalty while always keeping her feet in the dirt - bore some superficial resemblance to Gardner, who started life as a sharecropper's daughter. But Mankiewicz had really modeled the role on Margarita Cansino, the Latin dancer who achieved stardom as Rita Hayworth and briefly deserted the screen to marry Prince Aga Khan. There were incidents drawn from Gardner's life, however. Her character's relationship with the eccentric billionaire who discovers her was similar to Gardner's affair with Howard Hughes. When Hughes found out during post-production, he threatened a massive lawsuit unless certain line changes were made. Mankiewicz protested that it would be impossible to re-dub the dialogue with his cast and crew now scattered over three continents. So Hughes, who owned TWA, gave the film's editor a letter allowing him to claim any seat on any of the airline's flights, and the changes were made. Originally, Mankiewicz had planned to cast an unknown in the female lead, but after looking at the young Joan Collins and Rosanna Podesta, he decided to go with a star. With her exotic beauty and earthy sexuality, Ava Gardner quickly emerged as the only possible choice. There was just one problem. She was under contract at MGM, where Mankiewicz had just made Julius Caesar and burned a few bridges. When he approached them about borrowing Gardner, they stuck him for $200,000 - twice what he was paying the film's top billed star, Humphrey Bogart - plus ten percent of the gross. Gardner ended up costing Mankiewicz $1 million, while MGM only had to pay her contracted weekly salary, which came to $60,000. But she was well worth the cost when she contributed some of the most memorable scenes in the film - and her career - in particular, a flamenco dance to the film's best-selling theme. Although she had never danced on screen before, Gardner rehearsed the number for three weeks. When the playback machine broke during filming, she didn't miss a step, dancing as the extras clapped out the beat. One cast member was always Mankiewicz's first choice. He had loved working with Edmond O'Brien on Julius Caesar (1953) and delighted in his clowning between scenes. That inspired him to create the role of press agent Oscar Muldoon. At first O'Brien wasn't sure about taking the supporting role. He was getting star billing at the time. But Bogart convinced him that the role and he were a perfect match. They were indeed. O'Brien was the only member of the high-powered cast to win an Oscar® nomination (Best Supporting Actor) and went on to become the only actor to win an Oscar® for playing a character named Oscar. Director/Producer/Screenwriter: Joseph L. Mankiewicz Cinematographer: Jack Cardiff Composer: Mario Nascimbene Editor: William W. Hornbeck Art Director: Arrigo Equini Associate Producer: Michael Waszynski Costume Designer: Sorelle Fontana Cast: Humphrey Bogart (Harry Dawes), Ava Gardner (Maria Vargas), Edmond O'Brien (Oscar Muldoon), Marius Goring (Alberto Bravano), Valentina Cortese (Eleanora Torlato-Favrini), Rossano Brazzi (Vincenzo Torlato-Favrini). C-131m. Closed captioning. by Frank Miller

Quotes

"Life, every now and then, behaves as though it had seen too many bad movies, when everything fits too well - the beginning, the middle, the end - from fade-in to fade-out."
- Harry Dawes

Trivia

Notes

The cast order at the film's end differs from the opening credits, which add Bessie Love, Diana Decker and Bill Fraser after Franco Interlenghi. Actress Valentina Cortese's surname was spelled "Cortesa" in the onscreen credits. Enzo Staiola, who plays a bit role as a busboy in the film, was the boy featured in Vittorio De Sica's 1947 Italian film The Bicycle Thief.
       The story is told in flashback through the narration, in turn, of three principal characters portrayed by Humphrey Bogart, Edmond O'Brien and Rossano Brazzi. According to a modern source, changes were made to the soundtrack just days before the film's New York opening. These were required after Howard Hughes had learned that the character "Kirk Edwards," portrayed by Warren Stevens, bore striking similarites to him and threatened to sue. Included among the changes made was one that characterized "Edwards" as a Wall Street financier, instead of a Texas tycoon. Despite their onscreen chemistry, a Bogart biography states that he did not like Ava Gardner and described her as being an actress who "gave him nothing to work with."
       The Barefoot Contessa was Joseph L. Mankiewicz's first production as a writer, director and producer, although he had previously produced and directed or produced and written several films. It was also the first for his own production company, Figaro, Inc., which had financial backing from United Artists, and his first film in color. In addition to production at Cinecittà, location filming took place in and around Rome as well as in San Remo and Portofino, Italy. Edmond O'Brien won the Academy Award as Best Supporting Actor. Mankiewicz was nominated for an Academy Award for Best Story and Screenplay.

Miscellaneous Notes

Released in United States Fall October 1954

Released in United States March 18, 1989

Released in United States May 2003

Shown at San Francisco International Film Festival March 18, 1989.

Shown at Tribeca Film Festival in New York City May 3-11, 2003.

Released in United States March 18, 1989 (Shown at San Francisco International Film Festival March 18, 1989.)

Released in United States May 2003 (Shown at Tribeca Film Festival in New York City May 3-11, 2003.)

Released in United States Fall October 1954