There is a time for most people when, as children, they become aware. It's the time when suddenly, the world opens up and you see yourself fitting in. Things you took for granted or never noticed over night become worth investigating. You become aware of not only your surroundings, but the time in which you find yourself. Just like that things get emblazoned on your brain like never before. For me, that happened in 1960. It has always been a special year. It was the year I discovered girls. It was the year art had new meaning for me. It was the year I learned to type and it was the year I realized movies would be a part of my life forever.
When I watch films from 1960 they bring back that connection to becoming aware. They aren't all my favorite films, but it doesn't matter. When I see pretty much any film from the early 60s I get a jolt. Even if I've never seen the film before, movies that were made in the early 1960s, somehow trigger a response. It's a combination of the hair styles, the fashion, automobiles, the film stock and lighting use of that time, the cast, acting and scoring style. Films from 1960 through about 1962 have this in spades, including "Rome Adventure."
Suzanne Pleshette and Troy Donohue just radiate early 60s like nobody's business, as does Max Steiner's score, the cinemascope cinematography and the dialog. Even watching the credits in combo with Steiner's music swept me back to that era. In this regard the film was a joy to watch. It's very romantic, but you know that going in.
Having said that, essentially, "Rome Adventure" is a travelogue romance, and pretty much nothing more. I enjoyed it but I can't say it was very good. Though it has some of the same cast members, it doesn't hold a candle to Delmer Daves' previous film, "Summer Place." It's no where near as well written and quite shallow by comparison. The visual symbolism (the candelabra, for example, representing Donohue's integrity) was more than heavy-handed. I wonder what most women today would think of the scene where Donohue tells Pleshette that women's role on Earth is to be the anchor for the man? I can understand the meaning behind the thought, but in todays PC environment, the way it was handled in the big love scene at the climax is totally chauvinistic. It comes down to script. It could have been written in a way that suggested Donohue was talking about just he and Pleshette themselves, but the grand gesture of suggesting that the notion that all women were put on earth as the anchors for men is a cage many people (men and women) would bristle at. And the use of Al Hirt gives new meaning to the term "shoe-horned in."
I really enjoy Suzanne Pleshette in most things I've seen her in. She ended up being cast often as the world weary but intelligent woman who harbors an old love. This is exactly the character she plays in Hitchock's "The Birds," losing out to Tippi Hedren for Rod Taylor's love. Pleshette's small role is still one of the most remarkably well-developed of any secondary character in all of Hitch's films. When Rod Taylor discovers what has happened to her during a bird attack, it's a powerfully emotional moment. Amazing how much sympathy she created for herself with so little screen time. Pleshette in "Rome Adventure" doesn't start out playing the world weary woman she became in later films, but she sort of becomes one as the film progresses. Of course, the ending pretty much disregards that concept of her character, but it's there nonetheless.
Troy Donohue, who gave a very good and believable performance in "Summer Place," is pretty wooden here. He's actually the film's greatest flaw, which I find hard to understand. He had the same director and writer as "Summer Place," yet Donohue just doesn't connect. There is little chemistry between he and Pleshette, certainly no fire like he had with Sandra Dee.
The real star of "Rome Adventure" is Italy. It was photographed to look quaint and romantic, but the choice of locations, the time of day and consideration of lighting were all beautifully realized. The film has many similarities to another film from that same year (which also gives me that early 60s jolt), "Light in the Piazza." Rozzano Brazzi, who stars in "Rome Adventure," was also in "Piazza," playing a similar character. In the case of "Piazza," however, he's after the mother (played by Olivia deHavilland). "Piazza" also stars ingénue of the day, Yvette Mimieux and up and coming heart throb, George Hamilton. Hamilton plays an intrinsically happy Italian who falls in love with Mimieux' childlike character. "Piazza" is much more successful as a Euro romance than "Rome Adventure" because its plot takes some truly unexpected turns. "Rome Adventure" unfortunately telegraphs all its surprises along the way.
Yet, in spite of all this, I found there was a lot to enjoy, and I think it's even a film worth revisiting on occasion, if nothing more than to give me another early 60s jolt, but to also re-experience that idyllic world of Rome the filmmakers created.
When I watch films from 1960 they bring back that connection to becoming aware. They aren't all my favorite films, but it doesn't matter. When I see pretty much any film from the early 60s I get a jolt. Even if I've never seen the film before, movies that were made in the early 1960s, somehow trigger a response. It's a combination of the hair styles, the fashion, automobiles, the film stock and lighting use of that time, the cast, acting and scoring style. Films from 1960 through about 1962 have this in spades, including "Rome Adventure."
Suzanne Pleshette and Troy Donohue just radiate early 60s like nobody's business, as does Max Steiner's score, the cinemascope cinematography and the dialog. Even watching the credits in combo with Steiner's music swept me back to that era. In this regard the film was a joy to watch. It's very romantic, but you know that going in.
Having said that, essentially, "Rome Adventure" is a travelogue romance, and pretty much nothing more. I enjoyed it but I can't say it was very good. Though it has some of the same cast members, it doesn't hold a candle to Delmer Daves' previous film, "Summer Place." It's no where near as well written and quite shallow by comparison. The visual symbolism (the candelabra, for example, representing Donohue's integrity) was more than heavy-handed. I wonder what most women today would think of the scene where Donohue tells Pleshette that women's role on Earth is to be the anchor for the man? I can understand the meaning behind the thought, but in todays PC environment, the way it was handled in the big love scene at the climax is totally chauvinistic. It comes down to script. It could have been written in a way that suggested Donohue was talking about just he and Pleshette themselves, but the grand gesture of suggesting that the notion that all women were put on earth as the anchors for men is a cage many people (men and women) would bristle at. And the use of Al Hirt gives new meaning to the term "shoe-horned in."
I really enjoy Suzanne Pleshette in most things I've seen her in. She ended up being cast often as the world weary but intelligent woman who harbors an old love. This is exactly the character she plays in Hitchock's "The Birds," losing out to Tippi Hedren for Rod Taylor's love. Pleshette's small role is still one of the most remarkably well-developed of any secondary character in all of Hitch's films. When Rod Taylor discovers what has happened to her during a bird attack, it's a powerfully emotional moment. Amazing how much sympathy she created for herself with so little screen time. Pleshette in "Rome Adventure" doesn't start out playing the world weary woman she became in later films, but she sort of becomes one as the film progresses. Of course, the ending pretty much disregards that concept of her character, but it's there nonetheless.
Troy Donohue, who gave a very good and believable performance in "Summer Place," is pretty wooden here. He's actually the film's greatest flaw, which I find hard to understand. He had the same director and writer as "Summer Place," yet Donohue just doesn't connect. There is little chemistry between he and Pleshette, certainly no fire like he had with Sandra Dee.
The real star of "Rome Adventure" is Italy. It was photographed to look quaint and romantic, but the choice of locations, the time of day and consideration of lighting were all beautifully realized. The film has many similarities to another film from that same year (which also gives me that early 60s jolt), "Light in the Piazza." Rozzano Brazzi, who stars in "Rome Adventure," was also in "Piazza," playing a similar character. In the case of "Piazza," however, he's after the mother (played by Olivia deHavilland). "Piazza" also stars ingénue of the day, Yvette Mimieux and up and coming heart throb, George Hamilton. Hamilton plays an intrinsically happy Italian who falls in love with Mimieux' childlike character. "Piazza" is much more successful as a Euro romance than "Rome Adventure" because its plot takes some truly unexpected turns. "Rome Adventure" unfortunately telegraphs all its surprises along the way.
Yet, in spite of all this, I found there was a lot to enjoy, and I think it's even a film worth revisiting on occasion, if nothing more than to give me another early 60s jolt, but to also re-experience that idyllic world of Rome the filmmakers created.