Sun 15 Feb 2015
A Movie Review by Mike Tooney: THE HONEY POT (1967).
Posted by Steve under Crime Films , Films: Comedy/Musicals , Reviews[2] Comments
THE HONEY POT. United Artists, 1967, 132 minutes (cut down from 150). Rex Harrison, Susan Hayward, Cliff Robertson, Capucine, Edie Adams, Maggie Smith, Adolfo Celi, Hugh Manning. Based on the play Mr. Fox of Venice (1959) by Frederick Knott, which was based on the novel The Evil of the Day (1955) by Thomas Sterling, which was based on the play Volpone (1605) by Ben Jonson. Screenplay and direction: Joseph L. Mankiewicz.
Anyone familiar with Ben Jonson’s play knows that Volpone (“The Fox”) spends a lot of the time pretending he is deathly sick in one way or another to acquire unmerited wealth. Cecil Fox (Harrison) seems to be on his deathbed, too, and has called for his three favorite intimate female acquaintances to gather round him in his villa in Venice.
The consensus is that, since he has no heirs, Fox wants to bestow his worldly goods on one (or possibly all) of his mistresses. But before that happy event, murder claims one of them, with suspicion falling equally on everybody. It will take all the worldly wisdom of a mild-mannered Venetian detective (Celi) to sort it all out.
Since The Honey Pot was creatively Joseph Mankiewicz’s baby, he can be praised what for what’s good and blamed for what’s bad about the film. The good stuff: the acting (overall everyone’s fine, especially Rex Harrison) and the plot (it moves along, with a couple of nice twists). The bad stuff: While Susan Hayward’s performance is good enough, she’s hampered by one of the most inauthentic Texas accents ever committed to film — and then there’s that egregiously smart-alecky dialogue that Cliff Robertson, in particular, is saddled with.
American audiences will probably remember Adolfo Celi for his role as supervillain and adept H-bomb snatcher Emilio Largo in the 1965 James Bond film Thunderball.
If you’ve never seen The Honey Pot and you like your whodunits to have at least some mystery about them, you would do well to avoid the IMDb, Wikipedia, and TCM entries since they all give away those “nice twists” we noted above.
February 15th, 2015 at 11:30 pm
Sad to say, Mike that accent isn’t inauthentic, its just Oklahoma instead of Texas. It’s certainly not unknown in West Texas though, exaggeration and all. Though I sincerely doubt the screenwriter knew that (Hayward might she did star in TULSA). They weren’t as pretty, but I’ve known some wealthy West Texas women she could have been imitating certainly some in Oklahoma.
Granted for anyone who hasn’t been around it the accent does sound over done.
This is a very clever book as well, and one I enjoyed reading over.
Those twists almost become a tour de force as they pile up at the conclusion don’t they?
And I love Maggie Smith in this as the ‘innocent’.
February 16th, 2015 at 1:39 pm
David – I suspected you’d weigh in on Susan Hayward’s accent. I’ve never been as far west as Texas or Oklahoma long enough to assess how the language is handled out there, but to my untrained ear it just didn’t sound right somehow. I’ve been watching movies for nearly sixty years now and very, very, very seldom has Hollywood managed to reproduce an authentic Southern accent with any fidelity, but you do have to be a native to catch it.
And you’re right about Maggie Smith: She nearly steals the film despite the efforts of the other actors.