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Sunday, December 17, 2017

BOY ON A DOLPHIN (1957)

Less well-known than its travelogue-oriented CinemaScope brethren (20th/Fox lost rights, hence video limbo), director Jean Negulesco works with lighter foot & more spontaneity than in his earlier efforts in the form, enjoying the simple story & tasty Greek settings. (And gets smash lensing from Milton Krasner.) Sophia Loren's the sponge-diver who bumps into the eponymous statue, a priceless 2000 yr-old artifact, hidden in the watery deeps. She has two options: help honest archeologist Alan Ladd secure it for Greece (and chump change for Sophia & her romantic Romanian partner) or sell it to highest bidder Clifton Webb, eager to spirit the treasure out of the country for his personal collection. That’s about it, but it’s enough. Originally cooked up for Cary Grant & Gina Lollobrigida, Cary insisted on reteaming with new love Loren after THE PRIDE AND THE PASSION/’57. (Filmed first/released later.) But Cary’s wife nearly drowned when the Andrea Doria sunk, and he dropped out. Enter Alan Ladd, Hollywood’s second-shortest leading man against Hollywood’s second-tallest leading woman. And with the switch, a hot romantic vehicle became more of a straight treasure race. Call Rewrite! Walking ditches were dug to equalized height on tracking shots, scenes restaged for one party to stand & the other to be seated at a table. All the quick changes seemed to loosen up Negulesco, who came closer to his best form from back when his pics were so much smaller. (Though the end is a bit of a mess.) It’s modest stuff, but the fun on the set proves contagious; and Sophia truly looks truly spectacular.

CONTEST: The film trailer must have been worked up before Hugo Friedhofer wrote his score as the music used is by another famous composer. Name him to win a MAKSQUIBS Write-Up of your choice.

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