Woman of Straw | |
---|---|
Directed by | Basil Dearden |
Written by |
Robert Muller Stanley Mann Michael Relph |
Based on | La Femme de Paille 1956 novel by Catherine Arley |
Produced by | Michael Relph |
Starring |
Gina Lollobrigida Sean Connery Ralph Richardson |
Cinematography | Otto Heller |
Edited by | John D. Guthridge |
Music by | Norman Percival |
Production company | Relph-Dearden Productions |
Distributed by | United Artists |
Release date | 28 April 1964 |
Running time | 122 minutes |
Country | United Kingdom |
Language | English |
Budget | $1.7 million [1] |
Woman of Straw is a 1964 crime thriller directed by Basil Dearden and starring Gina Lollobrigida and Sean Connery. [2] It was written by Robert Muller and Stanley Mann, adapted from the 1954 novel La Femme de paille by Catherine Arley. [3]
Playboy Tony Richmond schemes to acquire the fortune of his uncle Charles Richmond, a tyrannical, wheelchair-using tycoon, by persuading Maria, the new personal nurse he has hired, to marry the old man. After his uncle's demise Maria becomes a murder suspect. Lollobrigida's character is the Woman of Straw of the title.
The film was shot at Pinewood Studios, Audley End House in Saffron Walden, Essex and in Majorca in the Balearic Islands between August and October 1963. [4] The Majorca footage, including much footage in a boat off the coast, was shot on location in September 1963. Gina Lollobrigida was reportedly "demanding and temperamental" during the filming, frequently clashing with Connery and Dearden. [4]
In a contemporary review in The New York Times, Eugene Archer wrote, "what could be more archaic than the sight of James Bond himself, Sean Connery, stalking glumly through the very type of old-fashioned thriller he usually mocks? That is exactly what we have in "Woman of Straw," and you can be certain that Mr. Connery did not look one bit more unhappy than yesterday's audience at the Criterion, where the hapless British film crept into town. For, despite the fancy trappings laid on by the respected old producer-director team of Michael Relph and Basil Dearden, this handsomely colored exercise is the kind of pseudo-Victorian nonsense that Alfred Hitchcock long ago laid to rest". [5]