The Black Orchid (1959)

Let's be realistic.

Boring, long, and too preachy.

Mostly, the movie is committed to the value of a good time.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

To this point in her American career, Italian actress Loren had starred mainly in big budget, Technicolor productions—e.g. Legend of the Lost, The Pride and the Passion, Boy on a Dolphin, (all 1957). Of course, such a format showed off her ample proportions for that mammary obsessed decade. I suspect this little b&w production was intended to help establish her as more than a sex goddess. And it does.She's quite good in the de-glamorized role of an embittered working widow, Rose. Despite her resistance, she's being intensely courted by prosperous business man, Frank (Quinn). Trouble is Frank's daughter Mary (Balin), is very possessive of dad and also thinks Rose is undeserving of him. So Mary creates problems that jeopardize not only dad's engagement but also her own—to nice guy Noble (Richman). If this sounds like tangled relationships, it is, especially when Rose's delinquent son (Baird) is added to the mix.Fortunately, the movie's well acted and directed (Ritt), which helps what turns out to be something of a soap opera. The first part comes across as mainly a character study as the hardened widow Rose fends off Frank's persistent gambits. However, once the relationships begin to spread and conflict, the screenplay takes on a more conventional tone. Also, looks like the movie was shot entirely on the Paramount lot. Thus, I expect they were able to squeeze it into her hectic schedule. Note too how subtly actress Loren expresses emotions with her eyes. That's probably something guys like me never noticed before. Despite the obscurity in Loren's canon, the film works as an engaging showcase for the two leads, and is not without its moments.

Patchy weeper with terrific and enjoyable performances , in which a businessman Frank Valente (Anthony Quinn) romancing criminal's widow named Rose Bianco (Sophia Loren) and the principal problem results in convincing their children that marriage will make all their lives better . As the Italian Frank wooing a mobster's widow that leads to unexpected consequences . Both of whom are strongly involved with their sons , as Frank has to convince his sternly moralising daughter (Ina Balin) about marry herself to Noble (Peter Mark Richman) , while Rose must convince her little boy Ralph (Jimmy Baird) who usually is locked at remand home like in N.Y. State Farm . This is a plain and simple film with plenty of interesting drama , Soap opera , emotion and a sensitive as well as unexpectedly tender romance . Filmmaker Martin Ritt has got a considerable success in delineating their troublesome roles in this fabricated Soaper . Various character-studios furnish the basis for this agreeable drama and it results to be a superb piece of acting . Excellent interpretation by protagonist duo , as Anthony Quinn as the bungling businessman romancing a moll's beautiful widow , this was the first of Anthony's European roles leading to his hit five years later in ¨Zorba the Greek¨ . And Sophia Loren playing magnificently the mature but attractive crook's widow , though she was 23 years old during filming, only 10 years older than the actor playing her juvenile son . The picture also established Loren's claim as a player of some worth and paved the way for her Acadeny Award-winning success three years later in ¨Two women¨ and her triumph in ¨The Cid¨ . It is a mostly staged drama in which the two main actors spend the majority of the movie attempting to persuade their children that all will be better if they marry and it can work out . Nice screenplay by Joseph Stefano dealing with sensitive themes such as the disintegration of a family , an enticing love story , rebellious childhood and including engaging dialogs . Evocative cinematography in VistaVision by Robert Burks , he's a classic cameraman and Hitchcock's usual . The music is sparse, but it's potent and lively every time it appears , it was composed by Alessandro Cicognini .This understatement motion picture was well produced by Carlo Ponti , Sophia Loren's husband , and professionally directed by Martin Ritt, who worked with Paul Newman in three Westerns : ¨Hombre¨ , ¨Hud¨ and ¨Outrage¨. Ritt was an expert on dramas such as ¨Stanley and Iris¨ , ¨Nut¨ , ¨Norma Rae¨ , ¨The front¨, ¨The Sound and the Fury¨ , though also directed films of all kind of genres such as : ¨The Spy Who Came in from the Cold¨ , ¨The Great White Hope¨ , ¨Mafia¨ and ¨Molly McGuire¨ . This ¨Black orchid¨ film will appeal to drama enthusiasts and Anthony Quinn/Sophia Loren fans . Rating : Above average, well worth watching ; along with ¨Hud¨ ,and ¨Outrage¨ being one of Ritt's best movie.

Anthony Quinn and Sophia Loren play two lonely, recently widowed people whose tentatively blossoming romance is in danger of being derailed by the behaviour of their respective children in this Martin Ritt melodrama that calls for its audience to exercise a high degree of patience combined with a low expectation of anything exciting happening.Quinn is very good as the single father of a grown daughter, exuding a charm that makes the speed with which the widow Rose's initial reluctance towards him is turned into a willing embrace believable. Loren is OK, although for me she lacked confidence in some of the quieter moments in which she is called upon to emote without words. But then, she was only in her early twenties – a good few years younger than her co-star – so perhaps a disparity in the quality of their acting is forgivable.Perhaps the most interesting thing about the movie is that it isn't Rose's tearaway juvenile son (Jimmy Baird) who proves to be the biggest obstacle to their romance, but Quinn's grown daughter Mary (Ina Balin) who is herself on the verge of marriage. This aspect of the story is also the least convincing, and to be honest you just feel like telling her to get over herself and let her Dad get on with his life. Any adult who would deliberately imitate the behaviour of their mother immediately before she (the mother) committed suicide in order to get their way really deserves no sympathy from the audience and a lot less understanding than they get from the characters here. This situation also lacks any meaningful resolution between father and daughter as it is Rose who finally brings Mary around – and then seals the deal by showing her prospective daughter-in-law how to cook the perfect sausage

The soon-to-be-married daughter of a handsome widower is furious when her father starts dating the widow of a gangster. Anthony Quinn and Sophia Loren are quite good as the older lovers whose romance hits a family obstacle (Quinn, in particular, is well-attuned to his role), but the stereotypical Italian characters get to be a bit much. One can understand why Quinn's daughter is reluctant to let go of her papa (she's been mother and daughter to him for years), but her overwrought behavior--not to mention her over-acting--creates an hysterical mood which nearly undermines the love story. Martin Ritt directed, staging the piece with sensitivity yet never allowing the characters and their emotions to bloom. **1/2 from ****