Hotel Paradiso (1966)
100 mins | Comedy | 14 October 1966
Director:
Peter GlenvilleWriters:
Peter Glenville, Jean-Claude CarrièreProducer:
Peter GlenvilleCinematographers:
Gilbert Chain, Henri DecaëEditor:
Anne V. CoatesProduction Designer:
François de LamotheProduction Companies:
Metro-Goldwyn-Mayer, Inc., Trianon ProductionsDirector Peter Glenville first adapted the 1894 French play, L’hôtel du libre échange, in 1956, with a stage version, titled Hotel Paradiso, which debuted in London, England, with Sir Alec Guinness and Irene Worth in starring roles. In 1957, Glenville directed another production of the play, starring Bert Lahr and Angela Lansbury, at Henry Miller’s Theatre in New York City. Nine years later, the 3 Jan 1965 NYT announced that Glenville would direct a film version for Metro-Goldwyn-Mayer, Inc. (MGM), to be adapted for the screen by Jean-Claude Carrière. Guinness was set to reprise the role of “Benedict Boniface,” opposite Gina Lollobrigida as “Marcelle Cot,” the 10 May 1965 NYT reported. Hotel Paradiso was said to be the first of a recently negotiated four-picture deal between Glenville and MGM.
Principal photography began in Paris, France, on 26 Jul 1965. Location shooting took place at a privately owned villa in Paris’s Saint-Germain-des-Prés neighborhood, and interiors were filmed at Studios de Saint-Maurice in the Saint-Maurice commune. A 5 Oct 1965 LAT article noted that Studios de Saint-Maurice was the oldest film studio in Paris “and the only one equipped for back projection.” Production ended on 4 Nov 1965, as stated in the following day’s DV.
Theatrical release took place on 14 Oct 1966 in New York City, and the week of 8 Dec 1966 in Los Angeles, CA. Glenville went on to direct one more film, The Comedians, which opened the following year (see entry). ...
Director Peter Glenville first adapted the 1894 French play, L’hôtel du libre échange, in 1956, with a stage version, titled Hotel Paradiso, which debuted in London, England, with Sir Alec Guinness and Irene Worth in starring roles. In 1957, Glenville directed another production of the play, starring Bert Lahr and Angela Lansbury, at Henry Miller’s Theatre in New York City. Nine years later, the 3 Jan 1965 NYT announced that Glenville would direct a film version for Metro-Goldwyn-Mayer, Inc. (MGM), to be adapted for the screen by Jean-Claude Carrière. Guinness was set to reprise the role of “Benedict Boniface,” opposite Gina Lollobrigida as “Marcelle Cot,” the 10 May 1965 NYT reported. Hotel Paradiso was said to be the first of a recently negotiated four-picture deal between Glenville and MGM.
Principal photography began in Paris, France, on 26 Jul 1965. Location shooting took place at a privately owned villa in Paris’s Saint-Germain-des-Prés neighborhood, and interiors were filmed at Studios de Saint-Maurice in the Saint-Maurice commune. A 5 Oct 1965 LAT article noted that Studios de Saint-Maurice was the oldest film studio in Paris “and the only one equipped for back projection.” Production ended on 4 Nov 1965, as stated in the following day’s DV.
Theatrical release took place on 14 Oct 1966 in New York City, and the week of 8 Dec 1966 in Los Angeles, CA. Glenville went on to direct one more film, The Comedians, which opened the following year (see entry).
In 1910 Paris, France, Marcelle Cot becomes so annoyed with her neglectful husband Henri, a pompous architect, that she consents to a rendezvous with her timorous neighbor, Benedict Boniface, who has learned his domineering wife Angélique is spending the night with her ailing sister. After dining at a café, Marcelle and Benedict adjourn to the Hotel Paradiso, which is also being used as a place of assignation by Monsieur Cot's nephew, Maxime, and Benedict's flirtatious maid, Victoire. Panic sets in for Marcelle and Benedict when additional arrivals include a barrister friend of Benedict's and Monsieur Cot himself, who has come to inspect the plumbing. In a series of frantic attempts to conceal their identities, Marcelle and Benedict concoct elaborate stories, flee from bedrooms to bathrooms, hide in chimneys and don disguises. The mayhem subsides when the hotel premises are raided by the police. On the next day, however, the nearsighted police inspector is unable to identify anyone; and when Maxime and Victoire openly admit to their presence in the hotel, they are assumed to be the night's revelers and the affair is dropped. Peace is restored until both the Cot and Boniface households are invited to attend the opening of the new romantic play by Georges Feydeau, who also stayed at the hotel on the eventful night. Although the two principal stage characters are heavily made up and their acting larger than life, there is little doubt that they bear a remarkable resemblance to Marcelle and ...
In 1910 Paris, France, Marcelle Cot becomes so annoyed with her neglectful husband Henri, a pompous architect, that she consents to a rendezvous with her timorous neighbor, Benedict Boniface, who has learned his domineering wife Angélique is spending the night with her ailing sister. After dining at a café, Marcelle and Benedict adjourn to the Hotel Paradiso, which is also being used as a place of assignation by Monsieur Cot's nephew, Maxime, and Benedict's flirtatious maid, Victoire. Panic sets in for Marcelle and Benedict when additional arrivals include a barrister friend of Benedict's and Monsieur Cot himself, who has come to inspect the plumbing. In a series of frantic attempts to conceal their identities, Marcelle and Benedict concoct elaborate stories, flee from bedrooms to bathrooms, hide in chimneys and don disguises. The mayhem subsides when the hotel premises are raided by the police. On the next day, however, the nearsighted police inspector is unable to identify anyone; and when Maxime and Victoire openly admit to their presence in the hotel, they are assumed to be the night's revelers and the affair is dropped. Peace is restored until both the Cot and Boniface households are invited to attend the opening of the new romantic play by Georges Feydeau, who also stayed at the hotel on the eventful night. Although the two principal stage characters are heavily made up and their acting larger than life, there is little doubt that they bear a remarkable resemblance to Marcelle and Benedict.
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