AFI Catalog of Feature Films
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Hotel Paradiso
Director: Peter Glenville (Dir)
Release Date:   1966
Premiere Information:   New York opening: 14 Oct 1966
Duration (in mins):   100
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Cast:   Gina Lollobrigida (Marcelle Cot)  
    Alec Guinness (Benedict Boniface)  
    Robert Morley (Henri Cot)  
    Peggy Mount (Angélique Boniface)  
    Douglas Byng (Mr. Martin)  
    Robertson Hare (Duke)  
    David Battley (George)  
    Ann Beach (Victoire)  
    Dario Moreno (Turk)  
    Derek Fowlds (Maxime)  
    Leonard Rossiter (Inspector)  
    Akim Tamiroff (Anniello)  
    Marie Bell (La Grande Antoinette)  
    Eddra Gale (Hotel guest)  
    Candy Le Beau    
    Helen Mathison    
    Denise Powell    
    Melody Kaye (Mr. Martin's daughters)  
    Peter Glenville (Georges Feydeau)  

Summary: In Paris in 1910, Marcelle Cot becomes so annoyed with her neglectful husband Henri, a pompous architect, that she consents to a rendezvous with her timorous neighbor, Benedict Boniface, who has learned that his domineering wife Angélique is spending the night with her ailing sister. After dining at a cafe, Marcelle and Benedict adjourn to the Hotel Paradiso, which is also being used as a place of assignation by Monsieur Cot's nephew, Maxime, and Benedict's flirtatious maid, Victoire. Panic sets in for Marcelle and Benedict when additional arrivals include a barrister friend of Benedict's and Monsieur Cot himself, who has come to inspect the plumbing. In a series of frantic attempts to conceal their identities, Marcelle and Benedict concoct elaborate stories, flee from bedrooms to bathrooms, hide in chimneys and don disguises. The mayhem subsides when the hotel premises are raided by the police. On the next day, however, the nearsighted police inspector is unable to identify anyone; and when Maxime and Victoire openly admit to their presence in the hotel they are assumed to be the night's revelers and the affair is dropped. Peace is restored until both the Cot and Boniface households are invited to attend the opening of the new romantic play by Georges Feydeau, who also stayed at the hotel on the eventful night. Although the two principal stage characters are heavily made up and their acting larger than life, there is little doubt that they bear a remarkable resemblance to Marcelle and Benedict. 

Production Company: Metro-Goldwyn-Mayer, Inc.  
  Trianon Productions  
Distribution Company: Metro-Goldwyn-Mayer, Inc.  
Director: Peter Glenville (Dir)
  Georges Pellegrin (Asst dir)
Producer: Peter Glenville (Prod)
  Pierre Jourdan (Assoc prod)
Writer: Peter Glenville (Scr)
  Jean-Claude Carrière (Scr)
Photography: Henri Decaë (Dir of photog)
  Gilbert Chain (Dir of photog)
  Jacques Dupont (Col cons)
Art Direction: François de Lamothe (Prod des)
Film Editor: Anne V. Coates (Film ed)
Set Decoration: Robert Christides (Set dec)
Costumes: Jacques Dupont (Cost des)
Music: Laurence Rosenthal (Mus & mus dir)
Sound: Cyril Swern (Sd rec)
  Jonathan Bates (Sd ed)
  J. B. Smith (Dub mix)
Make Up: Louis Bonnemaison (Ch makeup artist)
  Odette Berroyer (Ch makeup artist)
  Alex Archambault (Chief hairdresser)
Production Misc: Georges Gillet (Prod mgr)
  Philippe Modave (Unit mgr)
  Alice Ziller (Cont)
Country: United States

Source Text: Based on the play L'hôtel du libre échange by Georges Feydeau, Maurice Desvallières (Paris, 5 Dec 1894; trans. by Peter Glenville as Hotel Paradiso ; London.
Authors: Maurice Desvallières
  Georges Feydeau

Copyright Claimant Copyright Date Copyright Number
Metro-Goldwyn-Mayer, Inc. 25/7/1966 dd/mm/yyyy LP33303

Physical Properties: col: Metrocolor
  Sd: Westrex
  Widescreen/ratio: Panavision

 
Genre: Comedy
 
Subjects (Major): Architects
  Disguise
  Georges Feydeau
  Hotels
  Maids
  Infidelity
  Lawyers
  Marriage
  Neighbors
  Paris (France)
  Police
  Theater

Note: Location scenes filmed in Paris. 

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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