Runaway Romances Robert R. Shandley TEMPLE UNIVERSITY PRESS Philadelphia TEMPLE UNIVERSITY PRESS 1601 North Broad Street Philadelphia PA 19122 www.temple.edu/tempress Copyright © 2009 by Temple University All rights reserved Published 2009 Printed in the United States of America The paper used in this publication meets the requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992 Frontispiece: The triumph of fashion over feminism: Audrey Hepburn in Funny Face. (Publicity still, Funny Face, Paramount Pictures, 1957, courtesy of Photofest.) Library of Congress Cataloging-in-Publication Data Shandley, Robert R. Runaway romances : Hollywood’s postwar tour of Europe / Robert R. Shandley. p. cm. Includes bibliographical references and index. ISBN 978-1-59213-945-3 (cloth : alk. paper) 1. Motion picture industry—United States—History. 2. Motion picture industry—Production and direction—United States—History. 3. Motion pictures, American—Europe—History. 4. Love in motion pictures. 5. Travel in motion pictures. I. Title. PN1993.5.U6S475 2009 384'.80973—dc22 2008043757 2 4 6 8 9 7 5 3 1 For my daughter, Mary Margaret Shandley Contents Preface ix Introduction xiii 1 Hollywood’s Move Abroad 1 2 How Rome Saved Hollywood 20 3 Foreign Affairs: Metaphors of Transatlantic Relations 46 4 Tourists with Big Cameras: Widescreen Runaways and Class Mobility 76 5 Marrying the Enemy: The Occupation Romance 111 6 The End of the European Romance 136 Notes 161 Filmography 173 Bibliography 185 Index 193 Photographs follow page 110 Preface G oing to Europe to discover something unavailable at home describes a good part of my young adulthood. Along that journey of self-discov- ery I came to understand that Europe and America shared a compli- cated relationship informed by both Realpolitik and fairy tales. As a student of the German fi lm industry, which had languished under the yoke of compe- tition with Hollywood since World War II, I generally worked with the false assumption that Hollywood enjoyed absolute power in the European market. Of course, a closer look at postwar European–American cinematic relations reveals that such was hardly the case. Upon closer scrutiny it became clear to me that in order to understand the rise of art cinema in Italy, France, and Germany from the late 1950s through the 1970s, one had to consider, among other things, from where the infrastructure to support this resurgence might have come. That line of questioning led me to research Hollywood runaway production in the postwar era. Once I started looking at runaway production in general, which was most known for bringing about cycles of war fi lms and biblical epics, I found a group of fi lms set in contemporary Europe in which Hollywood seemed to be trying to sort out how Americans felt about their Old World allies. The fi lms contained both the fairy tales and the political negotiations that underlie the transatlantic relationship. This book benefi ted from the assistance, criticism, and ideas of many peo- ple and institutions. My colleague and friend, Anne Morey, accompanied me to archives, gently educated me in fi lm historical matters, patiently listened to many parts of this work at conferences, and offered invaluable criticism of