#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In Hong Kong, the wealthy Ogden Mears is traveling in a transatlantic, close to being assigned Saudi Arabian ambassador, and divorcing his wife Martha. He and his friend Harvey are invited by their old friend Clark to go to a nightclub with three aristocratic Russians on their last night. Ogden drinks too much and spends the night with Countess Natascha. The next morning, while sailing back home, Ogden finds Natascha hidden in his cabin wearing a ball gown and with no documents. The stowaway explains that she wants to go to the United States and Ogden is worried about his career. But Harvey convinces him to help Natascha. Ogden falls in love with Natascha, and he and Harvey plot a fake marriage between Natascha and his valet Hudson. Things get complicated when Immigration requests Natascha’s documents and Martha arrives on board.
Plot: A Russian countess stows away in the stateroom of a married U.S. diplomat bound for New York.
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|6.1/10 Votes: 6,114|
|6.1 Votes: 117 Popularity: 7.577|
Very flawed, still interesting
Chaplin’s last picture is a film with many faults, yet it’s not as bad as often claimed. I’ve seen it many times myself. Here is my opinion of it:
One of the most important flaws is the miscasting of Brando. He seems ill at ease. Thus Loren has to carry the film virtually alone. The whole structure of ‘Countess’ is not well balanced. There’s too much simple visual comedy for a romantic comedy, and vice versa. The plot is thin (It’s supposed to be simplistic). Also, the score is at times muddled as previously introduced dramatic themes come and go without any reason (see and hear Hedren’s first appearance.) The film is also a bit overlong.
The good things: There are points when the music is up to Chaplin’s usually high standards (Cargill’s comedy scene, storm theme). Cameo appearances are nice. Direction is more focused and production values are certainly superior to A King in N.Y. Yes, I believe, that what is often described as Chaplin’s ‘flat’ direction due to a lack of skill is an artistic style by choice. Simpleness is not the same as unskilfulness. For instance, during the dance scenes, the camera movement following actors is subtle and economically made. You’ll notice it if you watch them in fast-forward.
And if one may feel disappointed at the film on the whole, there’s at least a very beautiful, poignant and simple ending that is in my opinion the best of any Chaplin film I’ve seen. Its every element is in place.
Therefore it’s a rather mixed bag of a movie, most suitable for Chaplin fans and very interesting as a curio, at least.
Slight romantic comedy, decent enough to watch but considering all the talent you’d be right to expect more.
The last film of the great Charlie Chaplin (he wrote and directed it, as well as giving himself a very small cameo role) is a rather disappointing swansong. At the time of its release it was pretty much ripped to shreds by contemporary critics; since then other viewers have come out defending the film and praising it somewhat over-enthusiastically. The truth is that the film lies somewhere in between – it’s not an absolute calamity as originally claimed, nor is it an unfairly overlooked gem. Just a standard old-fashioned romantic comedy. Considering the sheer wealth of talent involved in the project, it ought to have amounted to a lot more (which perhaps explains why critical and commercial response was so frosty perhaps people set their expectations a little too high?).
Ultra-wealthy politician Ogden Mears (Marlon Brando) is on a world tour aboard a luxury ocean liner when he meets a Russian countess, Natascha (Sophia Loren) during a stopover in Hong Kong. The next morning he discovers Natascha hiding in the wardrobe in his cabin, having decided to board the vessel as a stowaway to escape a life of prostitution in Hong Kong. Ogden discovers that he has been appointed new American ambassador to Saudi Arabia, a position he suspects will further alienate him from his estranged wife (Tippi Hedren). More immediate in his ever-mounting problems, however, is the fact that Natascha is an illegitimate passenger on the ship with no official passport or papers who must be hidden at all costs. The only solution is to keep her in his cabin throughout the trip. Being cooped up together in his cabin for days on end is hardly ideal, and it doesn’t take long before they’re at each other’s throats. But somewhere amid their endless bickering lies the seed of romance, the beginning of a beautiful friendship, the sparks of passion waiting to ignite.
The film looked extraordinarily old-fashioned even in 1967, and even more so nowadays. It’s almost like a 30s film dressed up in colour – the music, the dialogue and the plot are all extremely archaic. Brando looks somewhat ill at ease in the leading role – Chaplin apparently wanted a big name, and there were few bigger at the time than Brando, but it’s not a role that suits his intense Method style. Loren fares better as the titular countess (she never looked lovelier, either), while some of the supporting actors get decent comic roles. Looking beyond the old-fashionedness, A Countess From Hong Kong is put together quite professionally – it looks sumptuous and is handled with complete competence throughout. The most negative reviews hammer the film as if it is some sort of epic turkey, a display of utter ineptitude, which it really isn’t. The most disappointing thing if truth be known is that an opportunity for something much bigger and better has escaped here all this gargantuan talent in one place, yet the result is just a mouse of a movie.
Original Language en
Runtime 2 hr (120 min), 1 hr 48 min (108 min) (US) (USA)
Genre Comedy, Romance
Director Charles Chaplin
Writer Charles Chaplin
Actors Marlon Brando, Sophia Loren, Sydney Chaplin
Country United Kingdom
Awards 1 nomination
Production Company N/A
Sound Mix Mono (Westrex Recording System)
Aspect Ratio 1.85 : 1
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,291.84 m
Negative Format 35 mm (Eastman 50T 5251)
Cinematographic Process Spherical
Printed Film Format 35 mm