Contempt (1964)

on October 31, 1964 by BOXOFFICE Staff
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Finally released to U.S. theatres after being held up by the New York Board of Regents, this Joseph E. Levine/Carlo Ponti production, filmed in Europe in CinemaScope and color, displays more of Brigitte Bardot's undraped charms than any previous pictures. directed by Jean-Luc Godard from the Alberto Moravio novel, "The Ghost at Noon," this deals with picture-making in Rome's Cinecitta Studios and will have a stronger appeal to class or the avant-garde patrons.
   Although multilingual, with Jack Palance speaking English as an American producer while Mlle. Bardot and Michel Piccol, her writer/husband, speak French throughout, all their dialogue is translated on the screen by Georgia Moll, playing the producer's secretary--an ideal way to learn French. But Godard, who wrote as well as directed, devotes too much footage to the filming of Homer's "Odyssey" and comparing it to the present-day world without ever making clear the relationship between Brigitte and her husband--passionate love that turns to contempt. The star pouts prettily, as always; Palance is fascinatingly evil; and famed director Fritz Lang plays himself with aplomb.

EXPLOITIPS
In addition to such sure-fire exploitation as Brigitte Bardot posing wrapped in towels or lying in a bed, with the resultant tie-ups with sleep shops or white-wear departments, hairdressers will cooperate by using stills of BB wearing a black wig and with her own blonde hair, as she appears in the picture. Palance is another selling name, as is that of famed Viennese director Fritz Lang.

CATCHLINES
More Bold, More Brazen and Much More Bardot...Bardot at Her Bold, Bare and Brazen Best...B Means Bardot at Her Boldest, and C Means the Contempt She Held for All Licentious Men.

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