When I’m not looking at all kinds of geeky media on this blog, I’m co-running my website Set The Tape, on which I now and then publish content. This is part of a review you can find the rest of in the link below.
For many, the high point of Joseph L. Mankiewicz’s quite legendary Hollywood career is 1950’s All About Eve, a picture which has lingered in cinematic history for its caustic wit, cold glamour and harsh performances. The Barefoot Contessa is, and in some ways isn’t, a lighter affair than Mankiewicz’s previous effort. Filmed in colour rather than black and white, often beautifully shot thanks to the redoubtable talents of great cinematographer Jack Cardiff, The Barefoot Contessa continues to explore Mankiewicz’s obsession with women and fame, the abusive power of privileged white men in the Hollywood system, his own conflicted feelings about it. Though where All About Eve was a spiky satire, The Barefoot Contessa is a Cinderella-fantasy.
The well known fable is mentioned in dialogue several times by Humphrey Bogart’s writer-director and frequent narrator Harry Dawes, underscoring how Mankiewicz saw Ava Gardner’s Spanish-startlet Maria Vargas as the Cinderella-figure and Bogart, essentially, as the Fairy Godfather who, if he was being completely honest, fell in love with a woman he ended up trying to save from a destructive corporate movie-making machine.