Word: countesses
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...least, such is the aim of Hôtesses Internationales, an elite assortment of young ladies who were organized two years ago by two aristocratic demoiselles - Countess Marthe de la Rochefoucauld, 28, and Mademoiselle Claude de Clermont-Tonnerre, 24. Says Marthe: "The idea came to me when I was in New York and heard Americans complain about the difficulties - and the coldness - they found in France." She recruited her cousin Claude and a dozen other sang-bleu friends to provide chic and cheery guidance for foreigners in Paris...
Jean Marshall's Countess was less successful. Her voice never blended with the other, and "Dove sono i beimomento," which must be the loveliest aria in the opera, came out nervous and constricted. She might have been singing in Martian for all the words I could make...
...disenchantment and made him slightly misanthropic, it hasn't erased his sentimental romantic spirit. He is obviously enchanted with mature women. Andrew Saris, writing in the Village voice, points out that Chaplin loves each dance hall girl in the opening sequence. And when Natascha is introduced with another Countess and a Baroness, she is presented second, not last, as she would be if she were the star attraction; Chaplin's camera lingers lovingly on all three...
...full shot of a room, with Brando in screen right and a door in screen left, we know instantly that someone will open the door within a few moments. This simplistic concept of film-making has made Chaplin unfashionable with technique-conscious students. But the film-making in A Countess from Hong Kong is highly sophisticated; the editing has great direction and force, each cut timed to convey degrees of humor, and establish patterns and rhythms to which he can subtly refer in later scenes. Frequently he win cut back to a camera set-up used in a previous scene...
Chaplin adhered to the philosophy of film-making he created, long after it had been abandoned by the mainstream. But this doesn't make his art old fashioned. A Countess From Hong Kong is modern cinema, though not, perhaps, what we have come to expect from modern cinema. Take the new Chaplin film on its own terms; contrary to all those patronizing critics, the old man hasn't really lost his touch, and Countess is a glorious romance...