Christian Dior Movies

Blake Edwards's stylish direction bolsters this Cold War romance starring Julie Andrews and Omar Sharif. Andrews plays Judith Farrow, a British civil service functionary who meets dashing Russian agent Feodor Sverdlov (Omar Sharif) under the romantic skies of the Caribbean. The Caribbean breezes work their magic and soon Judith is head-over-heels in love with Feodor. Feodor then tries to enlist Judith to become an agent for the Soviet Union. But after Judith is warned by the British government to stay away from him, Feodor decides that he'd rather have her than the Soviet Union. However, a kink is thrown into their love affair when an undercover Russian secret agent, posing as a British agent, decides to eradicate the two lovers. ~ Paul Brenner, Rovi

In this French drama, an aspiring photographer leaves his wife and daughter to seek his fortune in the City of Light. After three years, the wife grows tired of country life and also moves to Paris, but instead of looking for her husband, she becomes a model. Fortunately, by the story's end, she and he reconcile and happiness ensues. ~ Sandra Brennan, Rovi

In this espionage thriller, Dan Slater (Yul Brynner) is a CIA agent who travels to Austria after his son dies in a skiiing mishap. Slater begins to suspect that his son's death wasn't an accident and begins investigating the matter on his own. Slater finds that fellow agent Frank Wheatley (Clive Revill) is of little help to him. Beautiful Gina (Britt Ekland), the companion of prominent socialite Mrs. Carrington (Moira Lister), then slowly draws Slater into her web. In time, he discovers that his son's death was all part of a diabolical plan to lure him to Austria; Soviet agents led by Bethold (Anton Diffring) have performed extensive plastic surgery on one of their top spies until he's identical to Slater, and they intend to send him back in Slater's place, giving them an insider at the highest levels of U.S. intelligence. ~ Mark Deming, Rovi

Richard Quine directs George Axelrod's acerbic script (adapted from Julien Duvivier's La Fête à Henriette) in this romantic comedy that reunites William Holden and Audrey Hepburn for the first time since 1954's Sabrina. Holden plays Richard Benson, a Hollywood screenwriter being pressured by movie producer Alexander Meyerheimer (Noël Coward) to finish his script entitled "The Girl Who Stole the Eiffel Tower." Meyerheimer gives Richard a two-day ultimatum to complete his work, unaware that Richard has yet to even start on the script. In an effort to get moving on his project, Richard hires a live-in secretary, Gabrielle Simpson (Audrey Hepburn), to help him. Soon enough, the two fall in love and spend the time enacting various scenes from the unwritten screenplay as the time slips away and Richard's deadline looms. ~ Paul Brenner, Rovi

A man falls for an exotic "bad girl," unaware he's already met the nice girl lurking beneath the surface, in this romantic comedy. Samantha Blake (Joanne Woodward) works for a large department store in New York City as a sort of industrial spy; while ostensively a buyer, Blake's greatest responsibility is to find out what the hot new fashions are going to be, so her store can have cut-price knockoffs on the racks once they hit the boutiques. Samantha is flying to Paris with her co-workers Leena (Thelma Ritter) and Joe (George Tobias) when she meets Steve Sherman (Paul Newman), a no-nonsense reporter who has been assigned to cover the unveiling of the new designer lines. Samantha and Steve don't exactly hit it off, and after arriving in Paris, a depressed Samantha makes her way to a beauty salon after a few cocktails too many. Decked out in a new wig and dressed to the nines, Samantha bumps into Steve, who is convinced she's one of the city of lights' glamorous high-priced call girls. Samantha plays along, and Steve writes a story about her which proves to be a hit with his readers, but as she finds herself falling for Steve, she isn't sure how to tell him that she's really the mousy woman he met on his flight to Paris. A New Kind Of Love also features cameo appearances from Maurice Chevalier and Frank Sinatra, the latter of whom sings the title song. ~ Mark Deming, Rovi

A rousing chorus of Noël Coward's "Stately Homes of England" is heard as the opening titles of The Grass Is Greener fade into several stock shots of those stately homes. One of these mansions is owned by British earl Victor Rhyall (Cary Grant), who opens his home to American tourists in order to make ends meet. One such tourist is wealthy Texan Charles Delacro (Robert Mitchum), who sets his sights upon Victor's lovely wife, Hilary (Deborah Kerr). In his efforts to win back his wife, Victor presses his former girlfriend Hattie Durant (Jean Simmons) into service. The Grass Is Greener was adapted by Hugh and Margaret Williams from their own stage play. ~ Hal Erickson, Rovi

A man is forced to prove who he really is -- and discovers that it isn't as easy as one might think -- in this drama. Sir Mark Loddon (Dirk Bogarde) is a titled member of the British aristocracy who lives a life of wealth, privilege, and notoriety, until one day Jeffrey Buckenham (Paul Massie), a pilot from Canada, makes a startling accusation. Buckenham and Loddon were both inmates in the same POW camp during WWII, and Buckenham is convinced that Loddon is not the man he claims to be; Frank Welney, an actor who was also a prisoner in the same camp, bore a striking resemblance to Loddon, and he is convinced that the actor has taken Loddon's place. The press picks up Buckenham's story, and the question of Loddon's identity becomes the talk of all England; Lady Maggie Loddon (Olivia de Havilland), Mark's wife, is deeply offended and insists that he sue for libel to restore his good name. Mark obtains the services of Sir Wilfred (Robert Morley), one of the nation's best-respected attorneys, but it soon becomes evident that proving Mark's identity in court may not be as simple as it might seem; Mark suffered severe head injuries during the war that cause him to stutter at times and also result in periodic spells of amnesia; the testimony of the many witnesses called by Sir Wilfred and his opponent, Hubert Foxley (Wilfrid Hyde-White), establish no clear consensus of who Loddon really is. Libel was based on the popular stage drama by Edward Wooll. ~ Mark Deming, Rovi

The offspring of the American ambassador to France (the star was then living in Paris with her journalist husband), De Havilland tries to dissuade narrow-minded senator Adolphe Menjou from declaring Paris "off limits" to American servicemen. One such man in uniform is sergeant John Forsythe, who falls in love with De Havilland, whom he mistakes for a model. Eventually Menjou is shown the error of his ways through the combined efforts of De Havilland and his own wife Myrna Loy, while Our Heroine finds true happiness as an Army wife. The Ambassador's Daughter was produced, written and directed by Norman Krasna, a renowned Hollywood wit whose comic gifts were apparently left back in California on this occasion. ~ Hal Erickson, Rovi

In this tuneful, romantic sequel to the classic Gentlemen Prefer Blondes, two gorgeous brown-haired Broadway chorines head for the City of Light to escape their ardent, predatory fans and find true love after having many adventures. The story is paralleled by that of their mother and aunt who did the same thing during the 1920s. ~ Sandra Brennan, Rovi

Indiscretion of an American Wife began its life as a romantic drama entitled Terminal Station, directed with extraordinary skill and sensitivity by neorealist filmmaker Vittorio De Sica and starring Jennifer Jones and Montgomery Clift as a visiting American housewife and her Italian lover. Their tale was depicted against the backdrop of a hundred other stories and characters that De Sica presented in his 89-minute Terminal Station. In Indiscretion, however -- which was cobbled together at 63 minutes by producer David O. Selznick for the U.S. market -- theirs is the only one. Jones' Mary Hughs wrings her hands and wrestles with her conscience, but with no real depth, while Clift's Giovanni Doria emotes with jealousy and lust as she tries to leave him, gets off one train, waits for another, attempts to soothe the feelings of her confused and disappointed nephew (Richard Beymer), and ponders the idea of leaving her husband and marriage. The two accidentally run afoul of the authorities in the process, and risk exposure of their affair. This was a difficult shoot, beginning with the fact that Jones -- who always required lots of direction to give a consistent performance -- didn't speak Italian and De Sica spoke no English. In addition, the actress reportedly found Clift attractive in ways that reminded her of her first husband, Robert Walker; she also found his method-based approach to acting a challenge which she might have met, if only her husband at the time, Selznick, hadn't been deluging them with script changes on a daily basis. To further complicate matters, at some point after Jones found herself drawn to the Clift, she discovered that he was attracted to men, not women, and she reportedly flew into a destructive rage for the afternoon. Despite these problems, De Sica ended up getting a lot more of what he needed than Selznick did of what he wanted. Unhappy with the Italian director's finished 89-minute film and unwilling to challenge the American censors over some of the content (in connection with the tale of an adulterous wife and mother), Selznick, his editor, and writers (including Ben Hecht) went to work on it and delivered Indiscretion of an American Wife, a Hollywoodization of De Sica's neorealist masterpiece, but which lacked almost all of the most subtle elements of De Sica's movie. At times it seems like another attempt (à la Portrait of Jennie) to celebrate Jones' melodramatic screen persona, while elsewhere it focuses on Clift's tempestuous, exciting screen persona; but otherwise, there's very little "there" there, and the setting and scenes are a mere shadow of what was seen in De Sica's original Terminal Station. In 2003, both films -- and they are two separate movies that just happen to utilize the same footage -- were finally compiled under one cover, and in their optimal states, on a Criterion Collection DVD, and can be seen and compared for what they are. ~ Bruce Eder, Rovi

Stage Fright toys with our notions of the dividing line between reality and artifice by being set in the London theatre world. On the lam from the police, Richard Todd takes refuge in the home of his former girlfriend, RADA student Jane Wyman. Todd has been spotted fleeing the scene of a murder, but he insists that he's innocent. Wyman believes his story, but knows that the police won't, so she decides to play detective herself. She also plays several other roles in a variety of disguises so as to escape the notice of genuine detective Michael Wilding. Top-billed Marlene Dietrich plays a Dietrich-like chanteuse whom Wyman pigeonholes as the real murderer. ~ Hal Erickson, Rovi