Earlier this year, when Olivia de Havilland passed away, someone I know was reminiscing about her films and mentioned Light in the Piazza as being a particular favourite. I had never even heard of Light in the Piazza, let alone anything else, so I decided to have a look. It did turn out to be a mostly enjoyable film, but I didn’t find it worthy of being a tribute to Olivia de Havilland (what I reviewed instead as a tribute was this).
But Light in the Piazza is worth talking about, because it’s an unusual film. Unusual in its subject matter, and unusual in the fact that its leading lady acts her age: Olivia de Havilland was in her mid-forties when she acted as Meg Johnson, and she brings to the role all her wealth of experience.
A hundred years, ago, on June 7, 1917, in Ohio was born Dino Paul Crocetti, the son of an Italian immigrant and his wife, also of Italian origin. Dino spoke nothing but Italian until he was five years old—and didn’t have an easy time growing up, what with having to work jobs as varied as that of a steel mill worker and a gas station attendant. Until 1946, when he finally landed up in Hollywood, changed his name to the more Anglicized ‘Dean Martin’, and teamed up with comic actor Jerry Lewis in a series of comedies. They were to part ways some years later, but Dean Martin went on to become a far greater star—as actor and as singer—than anyone could ever have imagined.
After an eye candy post, it’s time for an eye candy film. This is the sort of film that’s truly beautiful to look at (a prime example of the genre is the Deborah Kerr-Rossano Brazzi flick Count Your Blessings, otherwise avoidable but visually unbeatable). Come September’s like that too: much about it is very soothing to the eyes.
The hero, wealthy Robert Taylor (Rock Hudson) is, for instance, gloriously good-looking: