Armand a charming film. like a fairy tale. in fact, it is a kind of fairy tale who reminds Disney flavor at different level. song, extraordinary locations, beautiful girls and boys, complicated stories and humor in precise doses.that seems be all. at first sigh. but it is impressive not for formula or for acting, for Rome or for coins in fountain. the special ingredient is the hope. the three young women are illustration for many girls who dreams the Charming Prince. the movie gives a realistic solution. and it is not only for isolated cases from society but for society itself. the delicacy and bitter spirit, the Romanticism and courageous decisions, the beginning and the end are not more different by many films of period. but the message is little more profound. like in a parable.

vincentlynch-moonoi I hadn't seen this film since 1962 when it was on NBC's "Saturday Night At The Movies"...51 years ago! What surprised me most in re-seeing it is that there really isn't one star of the film...it's very much an ensemble cast.And, it's a darned good cast. You've got Clifton Webb as an American author living in Rome, who has a relationship he doesn't even realize with his secretary -- Dorothy McGuire. Then you have Jean Peters as one of the coin tossers. That famous French actor Louis Jourdan plays an Italian prince (yes, I know...I guess they couldn't find a real Italian). And Rossano Brazzi -- an Italian -- as an Italian who works for the American government. And then there's Maggie McNamara -- who may remind you just a little bit of Audrey Hepburn -- as another American coin tosser.I always liked Clifton Webb, and he's very good here, although this is not his finest film. Dorothy McGuire almost steals the show. Jean Peters is very good, as is Louis Jourdan. Rossano Brazzi is good here, although he is somewhat shortchanged by his screen time. Maggie McNamara is very good, and I'm surprised she didn't become a bigger star. And as the song asks -- which one will the fountain bless? Lest you think this is one of those movies where it's all one big happy ending...well, one major character is unexpectedly dying. So, the fountain doesn't bless everyone in this film, although for most of the main players, it does lead them to happiness.The script isn't a somewhat typical romance, and it's pretty pleasant. The extensive photography of Rome and Italy is absolutely stunning, and its worth watching the film for that alone. And you get a sense of the happy-go-lucky nature of Italy back in the day. The story line will hold your attention, although it's nothing unique. And, there is the (oddly uncredited) Frank Sinatra singing the title song. This is definitely worth a watch...at least once.

Blueghost This film used to be a big ratings draw when it aired on TV. I would hear about discussed among the female members of the households, and eventually the film would get seen. It was in fact the subject of a few news' reports, and several hit songs.Me, I never got it. What? No phasers? No Captain Kirk or Mister Spock? No lasers or guns ablazing? What the heck? Oh... it's a romance.Okay, after the initial boyish knee jerk reaction, I would try to take in the film, get bored, and go watch something else on the small portable black and white. Well, eventually I would watch the whole thing (under protest) but found a fondness for it after a while.It's one of the great old fashioned romances of all time. Not being Italian, nor European of any sort, I see an old fashioned romanticism with the old world, and in a healthy way. We see a kind of sanitized rendition of the young Italian males aggressively going after the female travelers in search of fortune of love. They eventually overcome fears and apprehensions about social class and ideals of what they want and think they want.It's part of what good romances are all about and do. It is of course a fantasy, and like all good fantasies we see the twists and renditions of hearts' dreams fulfilled. In films like this we're presented with characters who have lofty ideals and expectations of what they want and think they want. The story unfolds and shows us and them that what it was they were searching for may not be what they thought they wanted. In real life this is often the case, but not always. Technically; shot using the three stripe process, the colors are marginally muted (a bit of a surprise) but also gives pretty clear imagery. The film, because it is from the 50s, uses primarily master shots to get the story across, and the one action sequence in the film uses maybe two dozen cutaways at most (and like a lot of action sequences, defies some common logic, but hey, it's Hollywood). The composite shots are actually well blended together, but like a lot of composites from the time, the master and background plates don't mesh because of the different lighting schemes. Spectacular interiors, some scenic exteriors, a good slow watch for a Sunday afternoon.An event film that created a splash among the romantically inclined. I can't find any real flaws in it, but again, it's not really my cup of tea. Give it a chance. You might like it.

T Y Three Coins in the Fountain is the standard location shoot from the fifties. We get expensive, widescreen photography (Italy - very nice), but the minute we enter an interior (or a character gets in a car) we're in an artificial world of soundstages. This becomes the defacto formula for 50s travelogue/dramas. The movie itself would fall under the heading "chick flick," a term of assignation, for a genre that generally offers only sisterhood beset by minor conflicts; and women either short-changing their own lives and development for a man (the 50s), or defining themselves via quasi-rejecting some social norm (the 80s forward). To be sure, there are chick flicks that can be enjoyed by general audiences (Terms of Endearment) but the term is characteristically used to deservedly dismiss trifling story lines like this one.Three women are explained to be in Italy for various reasons, and become room-mates. As the time demands, they're absurd, but true period types who use the steno-pool to travel, have an income, and find eligible bachelors whom they agree never to compete with; women whose truncated education (and society's glass ceiling) insure that they can't. Additionally, improbably, they live like queens.The movies wide-screen compositions are handsome but the story is off the low end of the scale for inconsequence. The script writers can't be bothered to spare four lines to introduce the piece's major conflict. Here a stenographer is such a dense bimbo that she a) inexplicably reveals a roommates transgressions to her boss, and b) forgets to inform her, causing job loss for her boyfriend and embarrassment for the room-mate. It's just too darned hard for this pretty thing to understand that she's both been outmaneuvered, AND done something very unethical, even within the terms of the movie. The movie notes none of this. The same character has an unexplored conflict in her desire to win a guy, but to also reap benefits (travel, etc.) from delaying or denying the onset of his romantic or sexual interest. The movie is a bewildering gender-power study.