moonspinner55 Door-slamming, buzzer-ringing boudoir farce aboard ship, balefully written, directed, co-produced and scored by Charles Chaplin, who also has a cameo. Unhappy concoction with miscast, mumbling Marlon Brando in the lead, playing wealthy future ambassador to Saudi Arabia who is matched with Russian countess and dance hall girl Sophia Loren when his ship docks in Hong Kong; she wants to go on to America despite having no papers, and stows away in Brando's cabin. Chaplin must have conceived this material at one time as a play; the right-to-left action on the main set is static and uninventive--and for laughs, everyone gets seasick and needs a place to vomit. Brando is far too serious and heavy-spirited for chasing-around-the-table comedy. Loren fakes her way through (when she says "I'll be glad when it's over", one can take the comment literally). Her beauty, however, is a compensation; also, Patrick Cargill as Brando's valet has a funny bit getting into bed, and Tippi Hedren is a nice surprise, popping up late in the film as Brando's haughty wife. *1/2 from ****

alexdeleonfilm image4.jpeg The Countess from Hong Kong, 1967. Viewed in Bologna at Cinema Ritrovato Festival (festival of rediscovered films), July 2016. Chaplin's directorial swan song starring Marlon Brando at his most wooden and Sofia Loren at her most ridiculous. Arguably one of the worst big name films ever made but I loved watching this early study in High Camp and have to agree with Peter Von Bragh's dissenting opinion that CFHK is a masterpiece -- Yes, a masterpiece of corny Camp! Brando's stiffness as a wealthy diplomat is the crowning pit of his career. Tippi Hedren, the harried star of Hitchcock's BIRDS shines and steals the show with a brief appearance in the final act. This Shipboard bedroom farce with less than sexy Sofia Loren is truly farcical -- both stars seemto have been intimidated by Chaplin into giving their worst performances imaginable

SimonJack Movie goers, film critics, and people in general have at least one tendency that often clouds our judgment. It's called stereotyping. In this case, it seems to be a consensus of many in all three above groups, that Marlon Brando was miscast as Ogden Mears in "A Countess from Hong Kong." And, apparently to the detriment of the whole film. But, was he? Or have many people viewed this film bitten by that stereotype bug that can infect our brains? Marlon Brando – the serious actor! The master actor of dramatic roles! How could he be any good in comedy? He doesn't even know how to smile or laugh!Well, after seeing this movie, I have to think that Charlie Chaplin knew full well what he was doing. Even if the critics of the time and many viewers then and now can't see it, or appreciate it. Chaplin, the comedy genius and super-talented actor, writer and composer, did not just put out a flop for his last film. He managed to do another very clever, funny and entertaining piece of the milieu in which he excelled. No, it's not his best, but it fits nicely with all his other films in the "better" category."Countess" has a good serving of wit and sight gags – two hallmarks of great Chaplin comedy. Not as many as in "The Great Dictator," "Monsieur Verdoux," or "A King in New York." But his inimitable style for simple, yet sophisticated comedy is stamped all over this film. Others have commented on his musical mastery and a little history behind this film. Since much criticism is aimed at Brando and his part, I'll just dissect that a bit. Brando's role was the perfect straight man for this scenario. Only, he doesn't have one joker, buffoon or eccentric sidekick. Rather, he is the central character that several others play off of in comedic interplay – mostly light, but at times very funny. His serious side is exactly what is needed to make the rest of it work as it does. Some have noted that Cary Grant or Rock Hudson would have been more natural in this role. Sure, they would have added their amusing, bewildered or befuddled expressions to the dialog for good laughs. And, their characters would have been more in tune with that of the countess. But I don't think that's what Chaplin had in mind. Remember – Ogden Mears was prominent in political circles and feted as ambassadorial material. So, Chaplin wanted a real person, from real life, to put in this role to add a sense of sharper contrast to the humor of the plot. I think Brando was his pick for that reason. And, I think it works well. All we need do to thoroughly enjoy this film, is cast aside any preconceptions we may have about who can play what type of roles. Then, sit back and watch this film as it is. And enjoy the wonderful Chaplin wit. As for the family fest – his son Sydney did quite well as Harvey, one of those who played nicely off Brando's straight man. And daughter, Geraldine, was among the club dancers early in the film, though without any lines. Charlie's two cameos were nice; the latter very funny where the chief steward himself was fighting seasickness. All in all, those of the Chaplin clan made nice filler for his last film.

BruceUllm It's a shame that such a genius went out with a whimper. However, I think that is the case with A Countess from Hong Kong. The staging and timing all would work with a silent movie, but not with a talkie. Particularly annoying was the "comical" use of the door buzzer. That gave the whole thing a 30's screwball comedy feeling. The players were trying to mimic how the Little Tramp would have reacted to the stimulus and it didn't work. The cameo by Chaplin as the old steward was interesting. We get a final view of him in good health and full Technicolor and sound.Frankly, I had trouble staying awake through the whole thing. It hardly compares with Modern Times or my favorite, The Great Dictator.