Come September (1961)

112 mins | Comedy | 9 August 1961

Full page view
HISTORY

Universal Pictures’ plans to produce Come September, an original screenplay by Stanley Shapiro and Maurice Richlin, were announced in the 4 Nov 1959 Var. Shapiro and Richlin’s collaborations included recent comedies Pillow Talk and Operation Petticoat (1959, see entries).
       Pillow Talk star Rock Hudson was cast in the lead role of “Robert Lawrence Talbot.” Although an 18 May 1960 DV item suggested Tony Curtis might take his place, Hudson remained with the picture, which he also produced through his newly formed company, 7 Pictures Corp. As stated in a 19 Aug 1960 DV brief, the project was Hudson’s first “independent venture,” set to be released by Universal-International.
       As noted in an 8 Jun 1960 LAT item, director Robert Mulligan offered Laurence Olivier a co-starring role. Comedian Shelley Berman was also considered for a role, although his concert touring dates posed a potential scheduling conflict. On 15 Jul 1960, DV announced that Mulligan would travel to Rome, Italy, for a location scout the following day.
       Principal photography began 7 Sep 1960, as noted in a 9 Sep 1960 DV production chart. Location filming took place in the coastal town of Portofino, Italy, where cloudy weather caused production delays, according to a 27 Nov 1960 NYT article. Soundstage work was scheduled to follow at Cinecitta Studios in Rome.
       The 27 Nov 1960 NYT noted that Leo Coleman worked as a choreographer on the picture.
       In mid-Jul 1961, Trans World Airlines (TWA) launched its new program of in-flight film screenings with the “world premiere” of ...

More Less

Universal Pictures’ plans to produce Come September, an original screenplay by Stanley Shapiro and Maurice Richlin, were announced in the 4 Nov 1959 Var. Shapiro and Richlin’s collaborations included recent comedies Pillow Talk and Operation Petticoat (1959, see entries).
       Pillow Talk star Rock Hudson was cast in the lead role of “Robert Lawrence Talbot.” Although an 18 May 1960 DV item suggested Tony Curtis might take his place, Hudson remained with the picture, which he also produced through his newly formed company, 7 Pictures Corp. As stated in a 19 Aug 1960 DV brief, the project was Hudson’s first “independent venture,” set to be released by Universal-International.
       As noted in an 8 Jun 1960 LAT item, director Robert Mulligan offered Laurence Olivier a co-starring role. Comedian Shelley Berman was also considered for a role, although his concert touring dates posed a potential scheduling conflict. On 15 Jul 1960, DV announced that Mulligan would travel to Rome, Italy, for a location scout the following day.
       Principal photography began 7 Sep 1960, as noted in a 9 Sep 1960 DV production chart. Location filming took place in the coastal town of Portofino, Italy, where cloudy weather caused production delays, according to a 27 Nov 1960 NYT article. Soundstage work was scheduled to follow at Cinecitta Studios in Rome.
       The 27 Nov 1960 NYT noted that Leo Coleman worked as a choreographer on the picture.
       In mid-Jul 1961, Trans World Airlines (TWA) launched its new program of in-flight film screenings with the “world premiere” of Come September, as stated in the 23 Jul 1961 LAT. The film was shown twice on a five-hour flight from Los Angeles, CA, to Seattle, WA, and back. Guests were fed dinner and returned to Los Angeles at the end of the evening.
       The 27 Jun 1961 DV review lamented that the picture failed to fulfill its potential but predicted it would be a commercial success regardless. The 24 Oct 1961 DV listed Come September as the ninth highest-grossing picture in Los Angeles, CA, in 1961, taking in “a sizzling $608,956.”
       Items in the 20 Jul 1960 NYT and 27 Jun 1961 DV incorrectly identified the film as singer Bobby Darin’s cinematic debut. Darin had previously appeared in Pepe (1961, see entry). On set, he met and fell in love with co-star Sandra Dee, and the two quickly married in early Dec 1960. Their experience on Come September was depicted in the Bobby Darin biography Beyond the Sea (2004, see entry).

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Chicago Tribune
31 Dec 2004
p. 34
Daily Variety
18 May 1960
p. 2
Daily Variety
15 Jul 1960
p. 2
Daily Variety
20 Jul 1960
p. 3
Daily Variety
19 Aug 1960
p. 3
Daily Variety
9 Sep 1960
p. 6
Daily Variety
27 Jun 1961
pp. 3-4
Daily Variety
14 Jul 1961
p. 2
Daily Variety
24 Oct 1961
p. 146
Los Angeles Times
8 Jun 1960
Section B, p. 6
Los Angeles Times
15 Jul 1960
p. 25
Los Angeles Times
22 Nov 1960
p. 2
Los Angeles Times
23 Jul 1961
Section D, p. 12
Los Angeles Times
23 Aug 1961
Section B, p. 9
New York Times
20 Jul 1960
p. 24
New York Times
27 Nov 1960
---
New York Times
7 Sep 1961
p. 40
New York Times
8 Sep 1961
p. 34
Variety
4 Nov 1959
p. 3
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Joseph Kenny
Asst dir
PRODUCERS
Assoc prod
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
Russell F. Schoengarth
Film ed
SET DECORATOR
John P. Austin
Set dec
COSTUMES
Gowns
Gowns executed by
MUSIC
Hans J. Salter
Mus
MAKEUP
Makeup
Makeup
Hairstyles
PRODUCTION MISC
SOURCES
SONGS
"Come September" and "Multiplication," words and music and sung by Bobby Darin.
PERFORMED BY
SONGWRITER/COMPOSER
DETAILS
Release Date:
9 August 1961
Premiere Information:
Minneapolis opening: 9 Aug 1961; Los Angeles premiere: 22 Aug 1961 at the Beverly Theater; Los Angeles opening: 23 Aug 1961
Production Date:
began 7 Sep 1960
Copyright Info
Claimant
Date
Copyright Number
7 Pictures
10 August 1961
LP25106
Physical Properties:
Sound
Color
Technicolor
Widescreen/ratio
CinemaScope
Duration(in mins):
112
Countries:
Italy, United States
Language:
English
SYNOPSIS

For the past six years American millionaire Robert Talbot has been spending September with his one-month-a-year mistress, Lisa Fellini, at his villa in Portofino, Italy. This year he arrives unannounced in July, however, and discovers that his major-domo, Maurice, has been making a tidy profit eleven months of the year by converting the villa into an elegant hotel--La Dolce Vista. Outraged, Robert demands that the guests--six American teenaged girls and a chaperon--leave immediately. Before the eviction can be accomplished, however, the chaperon slips on a champagne cork and injures her back; and Robert is stuck with his "guests." Another setback occurs when four American college boys pitch a tent just outside the villa and begin courting the girls. Apprehensive lest he be liable for arrest on a morals charge, Robert, accompanied by Lisa, sets himself up as both guardian and chaperon of the girls. His primary concern is keeping the most amorous of the boys, Tony, from seducing young Sandy Stevens. When Lisa learns that Robert has warned Sandy that men don't marry girls who "give away free samples," she indignantly storms out of the villa and returns to Rome to rejoin her stuffy British fiancé, Spencer. Robert follows but, despite a marriage proposal, he is unable to stop the infuriated Lisa. After a chat with Sandy, however, Lisa has a change of heart and races, in her wedding gown, to catch Robert. Following their marriage, they return to the villa for their honeymoon. They are appalled to discover that it is once more Hotel La Dolce Vista. This time Robert is confronted with a different problem--his "guests" are nine vacationing ...

More Less

For the past six years American millionaire Robert Talbot has been spending September with his one-month-a-year mistress, Lisa Fellini, at his villa in Portofino, Italy. This year he arrives unannounced in July, however, and discovers that his major-domo, Maurice, has been making a tidy profit eleven months of the year by converting the villa into an elegant hotel--La Dolce Vista. Outraged, Robert demands that the guests--six American teenaged girls and a chaperon--leave immediately. Before the eviction can be accomplished, however, the chaperon slips on a champagne cork and injures her back; and Robert is stuck with his "guests." Another setback occurs when four American college boys pitch a tent just outside the villa and begin courting the girls. Apprehensive lest he be liable for arrest on a morals charge, Robert, accompanied by Lisa, sets himself up as both guardian and chaperon of the girls. His primary concern is keeping the most amorous of the boys, Tony, from seducing young Sandy Stevens. When Lisa learns that Robert has warned Sandy that men don't marry girls who "give away free samples," she indignantly storms out of the villa and returns to Rome to rejoin her stuffy British fiancé, Spencer. Robert follows but, despite a marriage proposal, he is unable to stop the infuriated Lisa. After a chat with Sandy, however, Lisa has a change of heart and races, in her wedding gown, to catch Robert. Following their marriage, they return to the villa for their honeymoon. They are appalled to discover that it is once more Hotel La Dolce Vista. This time Robert is confronted with a different problem--his "guests" are nine vacationing nuns!

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Incendiary Blonde

The working titles of this film were The Smoothest Gal in Town , The Life of Texas Guinan and Texas Guinan . The film opens ... >>

That Forsyte Woman

The working title for this film was The Forsyte Saga . According to a pre-release news item in Time magazine, M-G-M decided to change the title ... >>

The Terminator

A full-page advertisement in the 24 Feb 1984 DV announced the recent start of principal photography, referring to the film by its working title, Terminator. ... >>

Pretty Baby

The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Jeremy Carr, Visiting Research Fellow ... >>

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.