Poseidon's Underworld: Dame Joan, Italian Style

Up until the mid-1980s, I was - like plenty of people then and now - not really interested in "old" movies. Three people and one book (The Who's Who of the Cinema, 1987) really got things rolling. One was Alfred Hitchcock. When some of his 1950s classics were finally released for viewing again after a lengthy absence, that piqued my interest. Another was Eleanor Parker. I wanted to see what she was like prior to The Sound of Music (1965.) The third was Joan Collins. After reading her autobiography Past Imperfect, I found myself wanting to see some of the old movies she'd been in. The rest of my obsession with period movies sprang forth from these early excursions. I have seen the vast majority of Collins' output. There are some early British films I haven't seen, along with a few others, but not too many. But the one I'm shining a light on today is truly obscure. I'd never seen it, it's never, ever shown and, in fact, there isn't a single User Comment or Critic Review on imdb.com for it! La congiuntura (1965), which translates to "The Conjuncture," barely exists in people's minds.

Unknown as it is, the movie (shot in 1964, but released in 1965 - and later in some areas) did have a go in US theaters by the name Hard Times for Princes.

Also known in some quarters as "One Million Dollars," the movie, along with Marriage, Italian Style (1964), actually earned Vittorio Gassman a Best Actor David di Donatello award (the Italian equivalent of an Oscar!) I must be honest now and tell you that - even now - I haven't truly experienced the movie in its entirety. All I could do was watch it without sound and take in the visuals. However, since I've always enjoyed seeing what La Collins has on in her roles, that was actually good enough! So I give you the rondolet of clothing, hair and makeup selections that she presented during this sojourn to Italy.

I recently told you how I managed to get a favorite site (which had somehow become blocked) freed up again so that I could discover all the hard-to-find things I want to see. Well, this was among them. But... the only version I could find had horrendous voice-over throughout the whole thing. So that's why I watched it with the sound off. If you should want to see this in motion, it's here. I'll also be upfront about something else. I'm holding back Collins' first "look" in the film because it was my very favorite! And, like Vanessa Williams, I try to save the best for last. Ha ha!

The basic plot line of "The Juncture" has beguiling Collins and Italian prince Gassman meeting up and pursuing one another for various reasons. He wants to make love to her, natch! She wants him to unwittingly aid her in transporting a million dollars out of the country, using his diplomatic immunity from customs as a smokescreen. That's just about all you need to know, really!

Along the way, they undergo various adventures, encounters and situations.

As you can see, black and white ensembles with large picture hats were not exactly foreign to Ms Collins when she took the role of Alexis on Dynasty nearly two decades later!

As flattering (and ultimately iconic) as this look was on JC, it was not selected for her. A stand-in had appeared wearing it in the prior year's cliffhanger (hence the dark veil and also large sunglasses) because the part had not yet been cast! Nevertheless, she would forevermore be seen in all sorts of hats during her tenure on the show.

For this scene, she sports a pink, patterned silk dress.

Her hairstyles (with the aid of wigs and pieces, of course) change often during the course of the movie. If one look didn't suit you, the next one might. Costumer Ugo Pericoli is credited on the film, but there is no question that Collins had input. As one who always applied her own makeup for the screen, she also collaborated on costumes and sometimes costumed herself completely.

For this sequence, she's posing for a photo in front of a printed backdrop.

Collins was 31 at the time this movie was being shot.

For a dinner date with Gassman, she sports a jumpsuit with beaded top.

I should say, a backless jumpsuit! (And Vidal Sassoon-ish hair.)

This movie was filmed all over Rome, Florence and other spots, including one of her favorites, Portofino. Thus, this beachside scene with all sorts of extra (many of which are wearing brief trunks and bikinis.)

Gassman opted out of wearing the then-popular skin-tight briefs, which are seen on various other beachgoers...

...but the Italian sausage that helped spur Shelley Winters on to marry him (1952-1954) did not escape our notice!

Even though she looks great, I couldn't help feeling like JC was perhaps a little self conscious in this two-piece. After all, daughter Tara had been born not too terribly long before she reported to Italy for filming.

Famous as the man was, I really only know him from a handful of things, chiefly Barabbas (1961) with Anthony Quinn, along with Rhapsody (1954), opposite Elizabeth Taylor, and The Miracle (1959) with Carroll Baker. He's also in War and Peace (1956), a movie I watch periodically of which, directly after seeing it, can recall almost NOTHING about! LOL

Here we have yet another completely different sort of look.

This being 1964, Collins is seen in a wide variety of bright colors from sunshine yellow to robin egg blue.

For this car ride (the two are repeatedly shown on various drives), she sports a jaunty bow in the back of her bouffant.

And perhaps Edith Head air-mailed her these sunglasses? Ha ha!

Here we see her in almost Melanie Daniels mode, making a call in a phone booth (which, alas, is not set upon by seagulls.)

In something of a surprise, this get-up turns out to be a top with matching pants, coordinated right down to the shoes!

Your eyes aren't deceiving you. Gassman didn't suddenly begin sporting chest hair after previously being seen shaved down...

This is Collins' actual boyfriend in the movie, played by none other than...

...dashing Jacques Bergerac!

She does a great job of expressing glee in this scene and I don't wonder why!

Sadly, his shirtless scene is unspeakably brief as he soon reaches for his robe after getting her all wet with that initial embrace and smooch.

This powder puff pink sleepwear ensemble only makes a fleeting appearance. Her hairstyle and head-tilt in the doorway give this a bit of a Claudine Lingerie, er, Longet feel.

By this point, Gassman is getting closer than ever to his goal.

Her final look has an appropriately bridal quality to it. Fans of Dynasty know that Collins favored belts like these all through her run on the series.

And they're back in the car once again, only this time not at opposite ends of the front seat, but instead close together. And now for that very first look, which I'd impishly held back. Some of you may not care for it. As far as I am concerned it was a stunning "juncture" of one of my favorite people on the planet and my favorite style of - well - style!