Word: actressing
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Dates: during 1960-1969
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Italy's Stefania Sandrelli, 18, is an actress right down to her toes. Her unforgettable game of footsie with a handsome sailor in the closing scenes of Divorce-Italian Style led to her being cast in the sequel, Seduced and Abandoned. Rosanna Schiaffino, 25, whose Lollobridgework went from a small part in La Notte Bravo, to The Victors and The Long Ships, is married to Producer Alfredo Bini. He will have to produce a lot to finance Rosanna. Says she: "I am a very expensive girl. My husband will have to give me a houseful of servants...
...brandishing a batch of warmly enthusiastic European press notices. Deemed by Hollywood to be unworthy of this year's Cannes film festival (TIME, May 15), the movie about racial intermarriage was submitted by its makers as an unofficial American entry and ended by winning a Best Actress award for its star, Barbara Barrie. Now U.S. filmgoers can see for themselves that the hot Potato hardly deserves to be whipped into a cause celebre. It is an often tedious and oversimplified polemic, even though Actress Barrie's sensitive, unaffected performance does lend some dramatic validity...
Occasionally, One Potato makes a forceful point, particularly in a wedding sequence played against the cold, tight-lipped silence of a female witness. The drama's emotionally wrenching climax succeeds because Actress Barrie has built to it scene by scene. Her quiet, vulnerable eyes enter a plea for understanding that the dialogue cannot match. Mostly, the actors are stuck with expressions of immaculately liberal sentiment, as when the Negro suitor tells his father: "Pop, we're in love, just like you and Mom. What difference does it make if she's black, white, purple or green?" Fledgling...
Perhaps the sole justification for turning a fine old movie into a just passable new one can be summed up as Angie Dickinson. Playing the tawny, amoral triplecrossing swinger who lures Cassavetes from auto racing to a life of crime, Angie isn't a subtle actress. But she somehow suggests to every male in the audience that this is a girl more inviting, and more dangerous, than a custom Ferrari idling on a fast track...
Elizabeth Cole, as Mistress Millamant, has at least a perfect set of facial expressions. But on an area stage especially, an actress needs to express her character with her voice as well. Whenever Miss Cole turned her back to play to another section of the theater, she seemed to step out of character. Without her smile and arching eyebrow to suggest the grand coquette, she sounded like a girl reading intriguing prose...