Intense, gripping, stylish and poignant

Although it has its amusing moments, in eneral the plot does not convince.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Witless farce from the usually-estimable comedy writer Melvin Frank, who also produced and directed, stars Rock Hudson as an American oil company executive in London, married but estranged from fiery Gina Lollobrigida for the past seven years, who must present a happily-united front for the company's general (why? so it'll "look good"). When Rock first meets Gina, she's an artist painting protest slogans on signs and walls--but the movie is so bashful, her signs are always half-finished so we won't know what she's protesting against. They marry immediately (presumably so they can have sex without guilt), but the next morning find they have nothing in common. Frank, who co-authored the screenplay with Michael Pertwee from a rather old-fashioned story he originated with Norman Panama, substitutes shouting for snap--and Lollobrigida does must of the shouting. Hudson tries to keep up with her, but his colorless brand of acting assures that he'll blend in with the furniture and nothing more. Atrociously shot by cinematographer Leo Tover, with the phony backdrops and scrappy rear-projection upstaging even Gina Lollobrigida in a variety of 'kooky' outfits. * from ****

This film will make you appreciate how well written and well directed the Rock Hudson/Doris Day romantic comedies were.Hudson has a tendency to be stiff, but here it is worse than I've ever seen it. Gina Lollobrigida was 38 and possibly because her character is supposed to be a political activist, she doesn't wear much make-up. She looks rather plain and not glamorous, so it is a mystery why Hudson falls for her. If you're expecting the Italian sex symbol, Gina Lollobrigida, this is not the film. Gig Young plays the Tony Randal sidekick part to Hudson. Young is a good actor, but really is too handsome for the sidekick role.There is no reason I can think of to watch this film, except for perhaps a short scene where Rock Hudson wakes up in bed with another man. Hudson is quite calm about it. Lollobrigida explains that he had no other place to sleep, so she put him in bed with Hudson. She asks Hudson if he minds. He answers that he doesn't mind. It is only because of what we know now about Hudson's sexuality that the scene is funny and sticks out. I an pretty sure that this is the only film where Hudson is in bed with another man.The movie's 1950's puritanical tone destroys the sex comedy aspect. Since this was made in 1965, when censorship was ending, it is unfortunate that the producers didn't seek to take advantage of the new freedom. For example. Gina is a member of a group that supposedly supports artist's freedom of expression. The group has Gina ride nude on a horse like Lady Godiva to protest an artist's censorship. However Gina doesn't really go nude, but wears a flesh colored body stocking. This destroys the whole point of the protest and destroys any hope of the viewer seeing Gina looking sexy.So, in summation, if you want to see Rock Hudson's dullest performance, Gina Lollobrigida's least sexy performance, and Gig Young as a bumbling sidekick, this is the movie for you.

This absurd comedy conceived by Melvin Frank and Norman Panama, a successful team that were pretty active in the Hollywood of the 40s and 50s, was an uninspired project to begin with. The film that was trying to capitalize on the stars because the screenplay does not present any surprises, or breaks any new ground. Michael Pertwee is also given credit for helping with the writing.Rock Hudson and Gina Lollobrigida had appeared together in the light comedy "Come September", directed by Robert Mulligan. Rock Hudson was at a high point of his movie career. His character, Carter Harrison, is the same role he repeated from film to film, with the exception, perhaps, of "Pillow Talk". Gina Lollobrigida's American career had its moment, but she never big in this country.The best thing, and unfortunately it comes at the end, is the sequence in which Terry-Thomas appears as the befuddled undertaker that has no clue as to what is really going on in his work area. Gig Young did what he could with the thin material he was given. Nancy Kulp shows in a couple of scenes also.

In 1961 Universal had a popular success, Golden Globe winner I believe, with pairing Rock Hudson and Gina Lollobrigida in the comedy "Come September". In 1965 they attempted to recreate the magic with "Strange Bedfellows". Unfortunately this failure just goes to prove that scripts and characters are just as important as actors. Rock Hudson plays a conservative oil executive who impetuously weds bohemian artist Gina Lollabrigida. Given their incompatible natures they separate after a short marriage. Seven years later Lollobrigida wants a divorce to wed newspaper editor Edward Judd while public relations man Gig Young encourages Hudson to portray himself as a happily married man in order to get a big promotion. Hudson proceeds to re-kindle the flame with Lollobrigida, while Judd tries to disrupt the relationship by encouraging Lollobrigida's bohemian causes and thus embarrassing Hudson. The outcome of all this is Lollobrigida riding through London as Lady Godiva as a protest for one of her causes. The movie fails for a variety of reasons. Hudson's scene in bed with Judd might have some "camp" value but, although ungallant of me to say so, I've seen Lollobrigida look better. The character development is limited, with fundamentally incompatible pair coming together apparently without any change in character. None of the supporting players has any personality in the script. Gig Young does many scenes solo, supposedly on the telephone to Hudson's character, and could probably been written out of the entire movie. Judd's acting is unfortunately limited to putting a pipe in and out of his mouth. The producers obviously recognized these problems and brought in British character comedians (i.e. undertaker Terry Thomas and several taxi drivers) for cameos. Much of the Lady Godiva scene requires physical comedy which is not Hudson's and Lollobrigida's forte. As commented on by others the Hollywood backlog substituted for London is cheesy. By way of comparison I would note that Come September had strong support from old pro Walter Slezak, energy from a young Bobby Darin and Sandra Dee, beautiful Italian scenery and a coherent plot. Suffice it to say that "Strange Bedfellows" at 98 minutes seemed dreadfully long while "Come September" at 112 minutes whizzed by.