MovieChat Forums > Light in the Piazza (1962) Discussion > Mixed Feelings

Mixed Feelings

posted 16 years ago by Harold_Robbins
14 replies | jump to latest

Finally caught up with this film after hearing about it for many years. On the whole I enjoyed it very much - performances and photography were excellent and all was very tastefully done (well, it was an Arthur Freed production!).

But I have misgivings about Meg's deception (and let's face it, that's exactly what it was) - although she said that married life for Clara would be free of responsibilities, did she give any thought at all to what would happen to her daughter when confronted with sex and pregnancy? And the last scene intimated that Meg might - just might - leave behind some of that "careful upbringing" she mentioned several times.

With its beautiful location photography, this is a film that could benefit from some remastering.

"Stone-cold sober I find myself absolutely fascinating!"---Katharine Hepburn

[–] macguffinlassie 16 years ago

I was thrilled to catch this last night on TCM because it's the first time I've seen it in 30+ years. I was enchanted anew--I've always liked Yvette Mimieux (I wished I could look like her as a kid and to tell you the truth, I still wouldn't mind), and even though I'm not nuts about George Hamilton, he was wonderful in this. In fact, everyone was wonderful--a lovely film.
As to Meg's deception, it really was for a greater good--she knew this in her gut and there's no reason to believe that her husband wouldn't have come around when confronted with the evidence, i.e., Clara's happiness; her in-laws adore her and we can see that she's rapidly acclimating to Florentine life. As to sex, Meg has mentioned more than once that her Clara is a sexually mature woman who obviously is driven by her longing for companionship with a young man. I'm sure that Meg would have explained the facts of life and in addition, Fabrizio would undoubtedly be loving and gentle. Pregnancy is the most natural condition in the world, and since Clara wants children and will have the doting support of her in-laws, there's no reason to think that it would be anything other than a happy experience for her.
As to restoration, good luck. It's immediately apparent in the first frames of the titles that this isn't a Technicolor production (in fact, it's Metrocolor), so restoring it will be hard. It was apparent just how much the colors had faded, which is very sad. It might make it to DVD but I don't think it's considered a significant film and so might not justify the effort required to restore it.

[–] fcalderp 16 years ago

This is one of the quintaessential Rossano Brazzi pictures. The others are "Summertime", "A Certain Smile" (which seems to be out of circulation) and "Rome Adventure" ("A girl needs a man to become a woman"). In "Three Coins in the Fountain" he's a good country boy (poor & honest), not Brazzi's characteristic film persona (the Italian "macho" womanizer of the post-war era, still fascinanted by the Americans). The same can be said of "The Barefoot Contesssa" (not the typical Brazzi's character). The good thing about his performance in this film (Light in the Piazza) is how he shows his real (bad) temper under the Continental charm. This is one of those beautiful "touristic" pictures about American finding romance in Europe, that are not made anymore. "Three Coins..." is the best; "The Pleasure Seeker" is kind of a remake, filmed in Spain (Madrid, Toledo...--Anthony Franciosa plays the Louis Jourdan character). Brazzi's bst film is "We the Living" with Alida Vali, made in Italy during the Mussolini era. It was like an italian Gone with the Wind.

I fell in love with Yvette Miemiuex when I was a kid and saw her emerging from the water (with her bare back) in the "incestuous" dream sequence of "Diamond Head". Her mother is Mexican.If you don't look like Yvette, that's fine. You're probably better looking.

[–] BlueGreen 16 years ago

Brazzi's bst film is "We the Living" with Alida Vali, made in Italy during the Mussolini era. It was like an italian Gone with the Wind.

Except it's like 50 times better, quality-wise.
In my opinion, obviously.

P.S. BTW, people CAN look pretty good even if they aren't necessarily famous screen actors, y'know? ;-)

[–] fcalderp 16 years ago

Of course, Gone with the Wind is many times better. But "Noi, vivi" is a pretty good film. Very honest. Even though it is basically an anti-communist picture, the good guy is the communist komisar who is in love with Alida Vali, and the bad guy is actually Rossano Brazzi, who defies the Stalin's regime. I saw it a few years ago (probably 15 years ago!) at the Gussmann Theather in Miami, during the Miami Film Festival. Watching a film on the big screen with a big audicence helps a lot! Both Vali and Brazzi where invited to the screening, but both were bussy working (Brazzi was dubbing some telenovleas into Italian).

There were many GWTW hopefuls during the 40's and 50's. The nazis made Kolberg. The Italians produced War and Peace, with Audrey Hepburn (and Mel Ferrer and Henry Fonda --both looking too much like Ashley); the Frenchs gave it a try with Les Myserables (with Jean Gabin, pretty dated, but I loved it when I was a kid); and, of course, Hollywood, many times: Green Dolphin Street (with Lana Turner), Tap Roots (with Susan Hayward), both with a miscast Van Heflin in the Gable part; and Raintree County (the phsychological angle had nothing to do with the Civil War, so it was a disjointed story), to name just a few.

I don't understand the P.S. DId I say something to the contrary? I would add that some actors are actually pretty good actors even if they don't look like good actors. Case in point: George Hamilton, who was wonderful as the Italian young man, much better than Warren Beatty's in the Vivien Leigh picture. But Beatty looks more like a good actor. Hamilton was wonderful in the 2 Columbus episodes he made and wonderful as a comedic Dracula. He is the master of foreing accents. When he appeared on What's My Line as the Mystery Guest (some 50 years ago) he answered each question with a different accent. Brando's fake accents were horrible. He always sounded like Marlon Brando with a cold.

[–] BlueGreen 16 years ago

Sorry, I didn't express myself intelligibly enough (and I am actually blushing ):
I meant "Noi, vivi" is a much better film - less photogenic, but better.
In my opinion, obviously.

But who cares?
I am glad to see people here who actually want to discuss films and actors - and KNOW something about it.

If you haven't seen it already (doubtful but possible), I think you would be very interested in a German semi-documentary about Goebbels' ill-fated attempt to make a German "version" of GWTW (which he admired enormously), and the sad fate that befell the film (unfinished).

I can't remember the title right now - I think it was "And life goes on" - but I can check it out and return.
Or somebody else can do it for me. ;)

P.S. Here is the film:
http://www.imdb.com/title/tt0037867/

and here is the terrific documentary I was talking about:

http://www.imdb.com/title/tt0362817/

[–] fcalderp 16 years ago

No, you expressed yourself well, I just thought you were refering to GWTW. GWTW is a beautiful film, one I can defend passionately. But I do admire We the Living enormously.

Kolber was produced during the last years of the war and it cost a fortune. It was a big flop. I do not think the nazis could have been thinking about another blockbuster. Curiously enough, it is a movie against the generals, probably the nazis where warning the people against a possible conspiracy amongst the generals to surrender and end the war. So the picture, set during the time of the Napoleon invasion, calls for the people to keep up fighting no matter what the highest rank officers decide.

[–] BlueGreen 16 years ago

THANK you for telling me!
I had no idea.
(And so what I do have is another reason for blushing... )

[–] macguffinlassie 16 years ago

We the Living is an Italian GWTW? I don't think that was Rand's intention (BTW, she was a fan of the novel (GWTW); I don't know what she thought about the film). I didn't get that sense about the novel or the Italian screen adaptation.
Incidentally, I saw it years ago during its American release with someone Italian who volunteered that the subtitles were inaccurate. A shame, given that Objectivism is supposed to be objective (I realize we've veered O/T here).

[–] BlueGreen 16 years ago

No, no, not at all - but it bears comparison, I suppose (the main plot, the period of filming).

I still think "Noi, vivi" is much better.
(Please, don't hate me - I am really nice! )

[–] BlueGreen 16 years ago

I understand your misgivings, Harold-Robbins.
And I also agree with the explanations of the other poster.

Thinking about it (I have had quite a few questions in the past, as you can see from the message board), I came to the conclusion that, in my case, it's precisely the many odd, somewhat "irrational" details that somehow constitute the equally odd - and definitely "irrational" - charm of this highly flawed but delicious film.

[–] macguffinlassie 16 years ago

Guys, I appreciate the votes of confidence and yeah, especially given that I'm 54, I look good. But Miss Mimieux made a big impression on me as a little girl--we all look up to "the big girls" for inspiration when we're approaching puberty. I haven't seen her in years, but I'll bet she still looks great. She was one of the 60's "Adorables" (Anne Francis, Donna Douglas, Lee Remick, etc.) I looked up to; I'll always think fondly of them. It's a girl thing.

[–] moviebuf-11 16 years ago

I just caught "Light in the Piazza" this afternoon on TCM, so I was hoping to get back to the OP's remarks...

My biggest misgiving about Meg's deception was, what will happen to Clara in the future? Fabrizio's family found her childlike behavior charming, such as when she put her tea saucer down on the floor for the dog to sip. And Fabrizio was clearly dazzled by her. Everything seems to be fine as long as they have a bit of a language barrier between them that helps to mask her limitations.

But what happens years down the road when she gets older, is no longer quite so beautiful, yet still acts like a 10-year-old child? Would Fabrizio be willing to take care of her when he finally realizes the extent of her mental limitations, or would he feel angry and deceived? At that point she would probably no longer have her parents around to take care of her if Fabrizio ever ended up abandoning her. I guess from Meg's point of view, it was the best prospect Clara would ever have, certainly better than the "school" the father wanted to commit her to... Very sweet movie, but I found the "happy ending" a little sad.

[–] macguffinlassie 16 years ago

I don't think much abandonment--including divorce, and there'd be no grounds for an annulment--occurred in a very Catholic 1960's Italy. It's also pointed out that not only are the young matrons with whom Clara would be socializing not what you'd call rocket scientists, but that oddly enough, she seems to be blossoming rapidly and seemingly becoming brighter and more normal in her new environment, i.e., it's a perfect fit for her (this is indicated somewhat more explicitly in the novella). The authors of both the script and the novella let us know, through Meg's conviction that she made the right decision, that Clara will live happily ever after--it's their intention that we understand this. Why disparage it? The bases have all been covered in this very simple little tale. If they'd wanted us to feel apprehensive about Clara's future, it would have been written that way.

[–] Doylenf 15 years ago

Exactly. That's the impression I got from Meg's closing line:

"I did the right thing. I know I did!"

The author obviously didn't want us to worry about the outcome--and after all, it really is just a slight story that gets its main charm from the beautiful scenic backgrounds in Italy. But on the other hand, I can understand some of the reservations that crop up about the ending. In fact, I wondered the same thing when I first saw the film years ago. Now I accept the fact that the author wanted us to see it from Meg's point of view.

"Somewhere along the line, the world has lost all of its standards and all of its taste."