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A Countess from Hong
Kong (1967)
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Director:
Charlie Chaplin |
COUNTRY
UK |
GENRE
Romance/Comedy |
NORWEGIAN TITLE
Grevinnen fra Hong Kong |
RUNNING
TIME
120 minutes |
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Producers:
Charlie Chaplin
Jerome Epstein |
Screenwriters:
Charlie Chaplin |
Review
Chaplin's final
film almost feels like an anachronism and a throwback to the 1930s
with its screwball comedy and asexual romance between a whimsical
Sophia Loren struggling to come off as pristine and a semi-inspired
Marlon Brando who couldn't quite convince himself that his co-star
was all that, and who reportedly clashed with both her and the
director, whom he dubbed "the most sadistic man he'd ever met".
Chaplin filmed in
colour, cast his son Sydney in a charming part as Brando's right
hand, and went all-in with elegant sets and locations, but his film
was completely slaughtered by contemporary critics who thought it
was dated and unconvincing. And although they were largely right,
there is nevertheless more than enough golden moments and fine
filmmaking here to make
A Countess from Hong Kong into a worthy watch. Chaplin's eye for
simple physical comedy creates some great scenes, such as when
Patrick Cargill as Brando's hapless, kinky butler Hudson is to spend
his first night with his new pro-forma wife Loren, or when Sydney
completely emulates his father in a short segment at a bar.
The story as such is slight and simplistic, and constantly marred by
the fact that there is minimal chemistry between Brando and Loren.
Still, it has a perpetual drive to it that keeps you on board
(literally speaking), and the fine work by the supporting characters
popping in makes you forget about the film's shortcomings and accept
it for what it is: a nice little flawed farewell in the same style
and tone that the great Chaplin once perfectioned.
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