For me, I liked the Scott/Maclaine segment the best, followed by Harrison/Moreau and then Bergman/Sharif. I actually wish that there had been a complete movie of the Gangster-Moll storyline with those two. I really enjoyed Maclaine, which is not my usual reaction to her younger work.
shareFor me it's:
1) Bergman/Sharif
2) Scott/MacLaine
3) Harrison/Moreau
I liked the Bergman story best because her character seems to be the one who has the most interesting character arc--a rich woman who finds purpose in life helping the disadvantaged and war torn. To me it's also the most meaningful and moving.
I liked the romance and comedy on in the MacLaine story, and like you, I'm not always a huge fan of hers.
Disappointed in the Harrison story. It seems the most frivolous to me.
I agree with your order, michellabella, but I take out George C Scott's name and put in Alain Delon's instead. They didn't really show much of a relationship between Scott and MacLaine at all. He treated her like a nobody and so she behaved like one. By the end they notice "she's changed" and that's because she finally felt she had value because someone desired her for herself, not just for her body but for the person she was.
1) Bergman/Sharif
2) Delon/MacLaine
3) Harrison/Moreau
1. Delon/MacLaine
2. Harrison/Moreau
3. Bergman/Sharif
I agree with many here that the second segment would make a great film just for itself. To me, this segment was the most heart-wrenching - who couldn't feel terrible seeing the sadness in Delon's eyes when Mae leaves with her gangster.
I found the Harrison character to be a really disgusting stuffed shirt and no wonder his wife strayed. He would lavish all of the baubles and gifts on her to show "love" when all she wanted was her tall, dark and handsome Fane. Pitty.
Bergman was her usual classy self, however, I found a pairing with Sharif not as believable as the other two stories.
Great film, finally taped it from TCM two weeks ago.
I dug the romance of the Sharif/Bergman part the most, and the off-beat pairing. The Harrison/Moreau story is strong and the Maclaine/Scott/Delon part is very sweet too. For flat out sexiness, Edmond Purdum and Delon (especially in that bathing suit) take honors. But Sharif's calm courtliness and Bergman's eccentricity and revelation of strong character were the best part for me. Plus, Joyce Grenfell is always a plus.
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When I first saw the film in the 60s I liked the Bergman/Sharif segment best, but now I feel the MacLaine/Delon chapter is the strongest - and I agree that it could easily function as a film on its own terms. In addition to MacLaine's wonderful chemistry with Delon, she has some nice moments with George C. Scott and (especially) Art Carney.
Just picked up the DVD yesterday - I'd forgotten how terrible some of the rear projection shots looked in the Harrison/Moreau and Bergman/Sharif segments. But it's a tolerable flaw; I still love THE YELLOW ROLLS-ROYCE.
I am with murph24 and the OP. Particularly agree with this
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I feel the MacLaine/Delon chapter is the strongest - and I agree that it could easily function as a film on its own terms.
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If there has to be a remake of this film, let the second segment be remade on its own!
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I REFUSE TO PLAY YOUR CHINESE FOOD MIND GAMES!
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I liked the Harrison/Moreau segment the best because of the way that the Harrison character (Lord Frinton) dealt with his cheating wife; how unlike today's typical reaction of rage and possibly violence. Next, I liked the Bergman/Sharif segment because of the character portrayals, Mrs. Millett's facade being broken down to show her true kind-hearted nature by the "dangerous", but truly kind and honorable, Davich. Lastly, I place the McClain/Delan/Scott/Carney portion. I do this because for me, it was hard to watch the Stephan character; I don't like gigolos or watching them work. This isn't to say that I didn't enjoy the segment though, because I like this entire movie and consider it to be a classic. Notable about the film are the endings for each story not being what you expect, including the way that you never find out what happened ultimately between the Bergman and Sharif characters, or if Davich even survived WWII.
shareI felt sad for both Moreau's and Harrison's characters in their segment, because even the facade of true love was now gone. Harrison returns the car, for example, despite having made a show of how it represented his love for his wife, which is at odds with their decision to keep up appearances. (And I do understand why, of course!). Also, I think it was very telling that he didn't explode in rage, but kept outwardly calm (though devastated). That seems to nail the fact that his character was emotionally flat - even a cheating wife couldn't get a rise out of him, or alter his resolve to be proper and formal.
Bergman's eccentric character was very enjoyable, and I liked how her true sensibilities are revealed when push comes to shove, although it seemed to me that the change in character was too abrupt - one minute ignoring the bombing in order to pursue dinner and then all too suddenly abandoning her selfishness to nurse the wounded. I would say that her single-minded attempt to have a good meal, complete with champagne, could have been simply an act, except that she is behaving that way with nobody else around to observe her. Still, it was an interesting and unexpected third story.
I like the middle section best, even if Scott's character mainly comes of as a parody. Also, it isn't only Maclaine's character who changes, even though her's is the one most apparent to her companions. Delon's also changes, a result of having unexpectedly found true love during one of his casual flings. One senses that, although he will no doubt continue to operate in the manner of a gigolo, it will be even more of an act because his heart has been broken and he'll never understand why.
"Holy one-track Bat-computer mind!"
The Bergman/Sharif section is my favorite - I love Ingrid Bergman, and I love her character in this story. I disagree that her change of character is abrupt, as I see bits and pieces of it from the start: her patience with Joyce Grenfell, and even her initial take on Davich. I love how she and the script never forgets Duchess, and how Duchess gets along with the villagers. And for me, this is the story where the car itself is an active player, and you get to see how it holds up under pressure.
Second for me is the Italian section, more for Carney and MacLaine than for Delon and MacLaine or Scott and MacLaine. Carney's character is so nicely quiet and comprehending. He and MacLaine have wonderful moments - Carney seems to do something with his partners that releases them and himself. I think Jackie Gleason knew that, and generously acknowledged Carney's importance in making The Honeymooners successful. I also like MacLaine's relationship with the car. It kind of preps me nicely for the Bergman section.
Last for me is the first story, though I like it more than I used to: the conversation between Harrison and Moreau at the end really makes that section for me - and Harrison's quiet, silent, truncated giving way with his lovely horse.
I've just watched the film, probably for the first time since 1964, and found it surprisingly enjoyable. But yes, for me, nothing can compare to Ingrid Bergman, and here she is her wonderfully vital self, and very well cast opposite Sharif. The years melt away, and their age difference doesn't matter in the least.
Next I would choose the MacLaine/Delon/Carney segment (Scott brings very little to the piece, imo). MacLaine can play the floozy in her sleep (so much of her work in the 50s and 60s is in this vein), but she never fails to touch and amuse. Delon is gorgeous and charming, and it was very interesting to read his take on his time in Hollywood in the mid-60s, where he was determined to carry over his international presence, and failed miserably. Carney is his usual brilliant self.
The least of the stories is the first, with Harrison a bit uncomfortable playing the romantic-then-wounded husband, and Moreau equally out of her depth.
Yes, I agree about Harrison and Moreau. They don't seem at home in their story, and this is probably what throws it off, though the story itself is less unique/intriguing to me than the other two.
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