IT STARTED WITH A KISS
US, 1959, 104 minutes. Colour.
Glenn Ford, Debbie Reynolds, Eva Gabor, Gustavo Rojo, Fred Clark, Edgar Buchanan, Harry Morgan.
Directed by George Marshall.
It Started With A Kiss is based on a screenplay by Charles Lederer. It is 1959 – but already there are signs of an emerging openness and frankness in films about relationships, sexuality. In those days this would have been considered somewhat risqué. However, this was the period which heralded in the 1960s and a more open treatment of sex themes within and outside marriage.
Glenn Ford plays an airman who becomes immediately infatuated with Debbie Reynolds, a third-rate singer and dancer in a club. She is desperate to find a wealthy man to marry. However, when they kiss, she succumbs and marries him instantly. They move to Spain and there is a lot of local photography in wide screen and colour, for those who love the travelogues of the times. There is also a car (later a model for the Batmobile) which the couple win in a raffle and which causes them difficulties with the army which wants to keep a low profile in Spain, as well as difficulties in the forbidding of Americans to sell anything to the Spaniards.
Gustavo Rojo is a bullfighter, proud of himself, infatuated with Debbie Reynolds, Eva Gabor is a marchesa. Fred Clark is a major general in charge of the troops in Spain.
The film is predictable in many ways, testing the marriage by not living as husband and wife for thirty days and the burden that this places on each, on the temptations that come up, in the decisions that have to be made – and, of course, true love winning out in the end. The film was directed by George Marshall who had been directing films since the 1930s, Destry Rides Again, many westerns at Universal and a number of Martin and Lewis comedies. Glenn Ford is very relaxed in the central role and Debbie Reynolds is as pert as ever. The next film for both was The Gazebo, also directed by George Marshall.
1. Pleasant romantic comedy? The late 1950s? The tone? Romance? Sexuality? Language? Situations? Transition from the 50s to the 60s?
2. The New York settings, the clubs, high society, ordinary apartments? The contrast with Spain, the location photography, the cities, the Spanish countryside, the bullfights? The air force base? Realism – with the touch of tourism? The musical score?
3. The focus on Maggie, her work in the club, dancing, cantankerous, ambitious, with the other girls? Taking the dress, going off to meet a millionaire? The society function, her role, selling the raffle tickets? Being chummy with the millionaires? Joe and his watching her, her reactions? Resentment? Selling the ticket? The aftermath, tearing her dress, his returning it to the club? The kiss? The change?
4. Marriage, little preparation? The plan to go to Spain? His transfer? His personality, his friends? Their ribbing him about the marriage?
5. Spain, the American soldiers in Spain in the 50s? With the Spanish? Not selling goods? Not ostentatious with their possessions? The irony of his winning the car? The delivery, the driving, the reactions? The general and his comments? The congressmen and their criticisms?
6. Maggie, arriving in Spain, Joe not there, the official and his comment on her slacks? Her rebellious attitudes? With Joe, in the apartment? The arrival of the car?
7. The discussion about the big surprise? The assumption that she was pregnant? The implications? Charlie and his wife? The other airmen? Maggie’s arrival, the truth? Her reaction? The clash with Joe?
8. The situation for one month, not as man and wife? In the apartment, the travels, the hotels? Joe’s frustration? Maggie and her obstinacy?
9. The encounter with Antonio? Driving the car, wanting the car? The celebrity bullfighter? Maggie entranced? Joe not so happy? Going to the bullfight? The dedication to Maggie? The marchesa?
10. Maggie and the flirtation with Antonio? The issue of the car? Selling it to him? The authorities and their dim view? Joe being slugged for tax? The desperate situation? Antonio and the car? Driving it? The bullfight, on the property, helping Maggie with the bull?
11. Joe, disciplined? The friendship with the marchesa? Staying with her? Maggie discovering his presence?
12. The complications with the rooms, Maggie and the general? Joe and the marchesa? Antonio and his reaction – and bowing out? The reconciliation after the misunderstandings? The happy ending?
