A Global Affair (1964)

84 mins | Comedy | 1964

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HISTORY

Location scenes filmed at the United Nations. According to one source, Denise and Danielle Monroe share the role of the baby. Some sources credit only Seven Arts Productions as production ... More Less

Location scenes filmed at the United Nations. According to one source, Denise and Danielle Monroe share the role of the baby. Some sources credit only Seven Arts Productions as production company. More Less

CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Hall Bartlett Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Asst dir
PRODUCERS
Assoc prod
Exec prod
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Art dir
Art dir
FILM EDITOR
Film ed
SET DECORATORS
Set dec
COSTUMES
SOUND
Rec supv
VISUAL EFFECTS
Title des
MAKEUP
Makeup
Mr. Hope's makeup
Hairstyles
Hair styles
PRODUCTION MISC
Prod supv
Unit prod mgr
SOURCES
SONGS
"So Wide the World," "Fais Do Do" and "A Global Affair," words and music by Dorcas Cochran and Dominic Frontiere
"So Wide the World," words and music by Vic Dana, sung by Vic Dara.
PERFORMER
DETAILS
Release Date:
1964
Premiere Information:
Los Angeles opening: 12 February 1964
Copyright Claimant:
Seven Arts Productions
Copyright Date:
10 December 1963
Copyright Number:
LP26891
Physical Properties:
Sound
Westrex
Black and White
Duration(in mins):
84
Country:
United States
Language:
English
PCA No:
20615
SYNOPSIS

A baby, abandoned at United Nations Headquarters, is put in the care of Frank Larrimore, a bachelor who is in charge of the women's rights department at the U. N. His impassioned pleas for a good life for every child, delivered on his radio program, prompted the mother to leave the baby. The baby cannot be turned over to New York City authorities because the U. N. Building is international territory. Frank smuggles the child into his apartment in a dog carrier because his landlord forbids children. Frank's playboy friend Randy uses the baby as an excuse to invite a number of international beauties from the U. N. to Frank's apartment. Lisette, a U. N. guide and the woman in whom Frank is romantically interested, leaves in disgust when the gathering turns into a party. On Monday no solution is found, and Frank is forced to keep the child longer. He is quoted in the newspapers as saying the baby should go to the best nation in the world, and an international competition for the child develops. Each of the beautiful international representatives woos Frank in the hopes of winning the baby for her country. Frank finally arrives at a decision cheered by the delegates: he himself will adopt the baby, and Lisette, whom he plans to marry, will be its ... +


A baby, abandoned at United Nations Headquarters, is put in the care of Frank Larrimore, a bachelor who is in charge of the women's rights department at the U. N. His impassioned pleas for a good life for every child, delivered on his radio program, prompted the mother to leave the baby. The baby cannot be turned over to New York City authorities because the U. N. Building is international territory. Frank smuggles the child into his apartment in a dog carrier because his landlord forbids children. Frank's playboy friend Randy uses the baby as an excuse to invite a number of international beauties from the U. N. to Frank's apartment. Lisette, a U. N. guide and the woman in whom Frank is romantically interested, leaves in disgust when the gathering turns into a party. On Monday no solution is found, and Frank is forced to keep the child longer. He is quoted in the newspapers as saying the baby should go to the best nation in the world, and an international competition for the child develops. Each of the beautiful international representatives woos Frank in the hopes of winning the baby for her country. Frank finally arrives at a decision cheered by the delegates: he himself will adopt the baby, and Lisette, whom he plans to marry, will be its mother. +

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

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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.