Boy on A Dolphin - 1957
Boy on A Dolphin - Released April 10, 195. DIrected by Jean Negulesco
20th Century Fox, 1957
Boy on a Dolphin - 1957
Probably the first "big Hollywood film" of Loren's career, Boy on a Dolphin has been roaming around television for many decades as a washed-out color movie with the question hanging in the air of whether decent film elements still existed for what had been a major production effort from 20th Century Fox back in 1957. Apparently the answer is yes, with a blu-ray restored version outin 2016.
Under the Mediterranean Sea
Sometimes dismissed as belonging to the exploitation stage of Sophia Loren's early career, Boy on A Dolphin was intended as a spectacular widescreen CinemaScope effort from 20th Century Fox, tapping into the genre of "scuba" films that had come about in the 1950s as the equipment to capture clear images underwater had improved significantly.
The genre was consistently a good draw during the 1950s, with The Frogmen in 1951, Beneath the 12 Mile Reef in 1953, then Creature from the Black Lagoon and 20,000 Leagues under the Sea in 1954 which had excellent box office. Jane Russell appeared in a trim red wetsuit for the 1955 Underwater which also did good business, and a low budget Undersea Girl (with Mara Corday in a similar red outfit) appeared in 1957.
But Boy on A Dolphin goes further by combining in archeology, something which powered the Van Heflin exotic adventure film The Golden Mask in 1953, and Robert Taylor's big-budget Valley of the Kings from 1954, both films featuring hard-fisted archeologists who pursue historical treasures despite peril and treachery.
Throwing that together with Sophia Loren and setting Boy on A Dolphin among the Aegean islands must have seemed like a perfect formula for success. At least Fox thought so, putting up $2.8 million to make the technically difficult color film with a 6-month production schedule headquartered in Rome.
Though typically now seen only on TV via worn and washed out prints (there's isn't a legit DVD or Bluray version), the movie can no longer properly present all the effort and money that Fox put into it. Directed by Jean Negulesco, who also did Three Coins In A Fountain, Boy on A Dolphin began filming across the Aegean even before the main star, Alan Ladd, had been signed. The cinematography is by Milton R. Krasner, and despite the somewhat shifted and fuzzy colors of the prints used today, we still see the striking beauty of the Aegean sea, the people and the islands there. Ladd may be the star in the credits, but it is Loren we most often see in the movie, aged 22 and probably the most Italian "Greek" anyone has ever seen.
Cary Grant was originally meant to star opposite Loren, but when he vacated the top of the cast Dolphin was already underway in Rome, so Fox signed Ladd and he shipped over by boat (and got robbed along the way when traveling the last stretch by train). Sophia Loren was already signed for the part of Phaedra, a poor Greek sponge-diver who finds the archeological object that the movie is about.
Loren has said that working with Ladd was one of the few instances while making a film in which she and her male co-star didn't become friends, and elsewhere Ladd is supposed to have complained that Negulesco obviously had a crush on Loren and was giving all the prime camera time to her. Whatever the case, there's no hostility onscreen between the two leads, but at best there's only a paternalistic affection from Ladd's character toward's Loren's, so low-key that at times Ladd just seems embarrassed or bored.
The script doesn't help much in that department, concentrating all its originality in narrating the efforts of Clifton Webb (as archeologist/thief Victor Parmalee, the source for some of the much-needed humor in this film) who is trying to smuggle the Boy on a Dolphin sculpture out of Greece, which is highly illegal in this nation ransacked many times for its archeological treasures.
Phaedra meant to sell it to Dr. James Calder (Ladd) who is in Athens helping the government to restore Greek national treasures. But the lure of better profits from Parmalee (and the pressure of co-conspirators Laurence Naismith as an alcoholic doctor and Jorge Mistral as Rhif, Phaedra's Albanian boyfriend, all hoping for riches on the black market art circuit) has her trying to simultaneously deceive Ladd's Dr. Calder and to keep Parmalee at arms length. Calder soon sees through the fakery (with the help of Piero Giagnoni as Niko, who is Phaedra's adolescent brother) and though Calder could expose Phaedra, he instead doggedly pursues the Dolphin in his own way.
There's a fine music score by Hugo Friedhofer, and Mary Kaye sings the Boy on a Dolphin theme song over the credits, a gentle refashioning of a Greek folk tune (made popular later by Julie London) that is still rerecorded by modern singers from time to time. Loren also sings the Greek "Ti Ine Afto Pou To Lene Agapi" during a segment that features Greek folk dancing. With all of the money and excellent production work going into Boy on A Dolphin, it's odd how poorly so much of the film turned out. The hole in the middle of the tale (adapted from the 1955 novel by David Dine) is the slow, lukewarm romance between the two leads. Nothing seems to gel when they are together.
The early scene in which the sponge-diving Loren comes out of the sea soaking wet with a clinging outfit that leaves her entire torso available for inspection is imagery much more famous than the movie itself. Was this the effort of a Hollywood production to try and save itself, realizing the production was in trouble in too many other departments? Whatever the case, those few minutes of screen time right at the start of Boy on a Dolphin shove the project into the 'exploitation' column of Loren's films, which is a shame. But that's how Fox marketed it in 1957. So many decades later, Fox uses prints in bad need of remastering for TV airing, displaying a minimum of respect for their biggest production of 56-57.
The underwater sequences are from a studio set, but the scenic parts of the movie (the bulk of the film) was filmed primarily around the island of Hydra (which is pronounced correctly as EEdrah, but is pronounced as HAYdrah by characters in the film, which means Sophia Loren's character is "Phaedrah from Haedrah."
Laurence Naismith is the alcoholic doctor on the skids who has something like a crush (or something else not explored) toward Sophia Loren's character. He's the one who realizes the worth of the underwater sculpture Loren has found (she cuts her leg on it accidentally while sponge diving) but this benign old fellow is soon pushed out of the way when more criminally minded characters appear.
Phaedrah (Loren) finds the twin of this same sculpture (shown here in a sequence from the National Museum in Athens) beneath the Mediterranean, but her find also includes the dolphin that the little bronze jockey is riding. Clifton Webb has begun his conspiracy to steal the sculpture out from under the water and away from Greece.
Webb has the best lines in the movie, adding cynical humour to the sometimes ponderous plot motion. Though he is supposed to be a physical menace to Loren, this fails the same way Ladd's character fails when compared to Loren: Phaedrah looks like she could pick up both Webb and Ladd and knock their heads together.
Phaedrah pleads with Dr. Calder (Ladd) about her find, but he doesn't really listen, certain she's just another ignorant Greek peasant. There's a wide streak of paternalism in this film.
Victor Parmalee (Clifton Webb) believes Phaedrah's story about the sculpture. And he manipulates her mercilessly.
Ladd's character is written into the script as falling in love with Sophia Loren's Phaedrah, but that's not how Ladd plays the character. At times it seems like Ladd can't make up his mind whether he even likes Loren at all.
Phaedrah and Dr Calder meet at a taverna on a date, and Calder spends his time talking off into space or simply looking for an exit.
Loren sings "Ti Ine Afto Pou To Lene Agapi" during the taverna sequence.
Whatever is the problem with Ladd's acting concerning the love subplot of the movie, Dr Calder is revealed as a very generous and patient character later, and instead of ratting out Phaedrah's illegal plan to help Parmalee steal the sculpture, Calder instead keeps hinting to Phaedrah what the only ethical path is for what to do with the priceless artifact she has found. He wants her to turn it over to the Greek authorities, though he doesn't stress it as a test for his friendship.
This would have been a much better path for the script to take instead of the botched romance subplot. The film might have come off much better as being about Ladd's slightly-arrogant Dr Calder learning to appreciate the modern Greeks instead of just the ancient ones, and Phaedrah coming to terms with right and wrong (and her double-dealing boyfriend Rhiff).
What we have in the film is the battle of Phaedrah's conscience about the treasure she has found: whether to listen to a 'bad angel' (Clifton Webb's Parmalee, and the boyfriend Rhiff) preaching greed, or to the 'good angel' of Ladd's Dr. Calder who preaches respect for the heritage of Greece.
The movie is about treasure and the love between the two stars (well, sort've) but it also works as pure travelogue, with a lot of beautiful scenery.
It's hot in the Aegean, but here's Dr Calder and a Greek detective in trenchcoats (Loren is dressed more sensibly, although one gets the sense that Director Jean Negulesco would like to have had Loren wearing as little as possible). Why are they in trenchcoats in the heat? I guess because Ladd was famous for roles in other films in which he wore trenchcoats. The other man is a detective, and movie detectives wear trenchcoats.
In the end, the treasure is saved by Niko and the Greek islanders themselves.
Additional Notes for Boy on A Dolphin:
It Started in Naples, 1960
Clark Gable and Loren teamed up for It Started in Naples, a romantic comedy from Paramount in 1960. It borrows the idea of having Loren appear onscreen with some youthful baggage: in Boy on a Dolphin it was the little brother Niko, in Naples, it is the nephew Nando. In both films, Loren is a slightly out of control native who has their life straightened out by a visiting American. In a way, this theme is turned on its head for the Loren/Cary Grant Houseboat from 1958, in which Grant's character has 3 kids in tow, and it's visiting Italian Loren who straightens all of them out. All three films share life near (or on) water, kids, and cinematography that is constantly trying to drink in Sophia Loren's looks.
The Indiana Jones Connection
The Spielberg/Lucas film of 1981 features a hard-hitting archeologist often bested by a scheming, competing renegade archeologist who stays one step ahead for most of that tale. The antecedent for Raiders of the Lost Ark's Dr Rene Belloq can be traced to Boy on a Dolphin's Victor Parmalee (Clifton Webb). For that matter, Indiana Jones seems to be a kind of echo of the adventuring archeologists from The Golden Mask, Valley of the Kings and Alan Ladd's determined Dr. Calder from Boy on a Dolphin.
Boy on a Dolphin was released in April 1957 by 20th Century Fox
Original Page June 12, 2014
Letters from Hollywood: Inside the Private World of Classic American Movemaking
352 pages - Published by Harry N. Abrams
"This is, quite simply, one of the finest books I’ve ever read about Hollywood." Leonard Maltin
Reproduces in full color scores of entertaining and insightful pieces of correspondence from some of the most notable and talented film industry names of all time—from the silent era to the golden age, and up through the pre-email days of the 1970s. Annotated by the authors to provide backstories and further context. Greta Garbo, Alfred Hitchcock, Humphrey Bogart, Frank Sinatra, Katharine Hepburn, Marlon Brando, Elia Kazan, Cary Grant, Francis Ford Coppola, Tom Hanks, and Jane Fonda.