A familiar topic, the love/hate romance, is portrayed as an at times wacky comedy and at times an intense star-crossed romantic drama. Although the concept of romantic comedy has been done well many times, this is not one of them. The combining of the two genres is poorly done and inexcusable. Bizarrely, the wackiness comes mainly from scenery and editing, not Peter Sellers. There are jump flash scenes at the end that are out of place anywhere but a Doris Day comedy. Scenes of the Millionairess' 'throne' room and board who apparently manage her fortune are equally out of place. The film is redeemed only by a few somber lines delivered by Peter Sellers that are poignant and quotable, and the lovely Sophia Loren who is a vision in every scene. Pieces of the story line are touching and reminiscent of 'The Gift of the Magi.' Unfortunately, sifting through the rest of the film to find these treasures is hardly worth the effort.

I loved watching Alastair Sim, Sophia Loren and Peter Sellers in action. Alastair's voice is still bubbling in my head as is Peter Seller's Indian accent. And all the beautiful cheesiness of a 1960's movie. If any of that appeals to you see the movie.

The Millionairess reminds me of why people will sit through generally stale movies sometimes instead of just packing it in, the odd glitter or chemistry between two major movie stars who one does not often get to see together. This is a flat uncompelling piece of work about a newly minted heiress (Sophia Loren) who can't find the right man to marry and a devoted Indian physician (Peter Sellers) who has no interest in money- or women. Sellers performance is about the only thing that takes this picture above banality; he has so much integrity as an actor that he raises the level of the mostly shoddy material. He has some truly wonderful, charming moments as the doctor who resists the stunning Loren at every turn (the same could not be said off-camera; Sellers wrecked his first marriage over the obsession). Loren, is a good, but not great actress; her appeal lies heavily in her charm and good humor. Here, those qualities are muted by the character she plays: a self-obsessed bombshell who has no real love to give- only money- and doesn't understand why a man of true integrity won't respond to that. But what's wrong with the screenplay is fairly obvious. In the typical Hate At First Sight movie romance, the characters learn and grow to see the virtue of the each other's worth, then fall in love. Here, they don't. Sellers character gives no indication of wearing down, Loren's never stops being exasperating (in one scene, she fakes an illness at 4:30 AM so Sellers will come over to examine her). When they hook up at the end, it's totally implausible and not very satisfying (she fakes committing suicide to draw him to her). That said, the movie is not quite boring, the audience may be drawn to the radiance of the stars in spite of itself, but it has no real spark and no drive. The look of it is quite nice, it's expensive without being gaudy. But it doesn't serve the actors very well; even the great Alastair Sim isn't well-used. I suspect watching The Millionairess is something like being super-rich, one gets the feeling of having too much time to kill. 2** out of 4

I never saw this when it first came out, though I remember the song that went with it (but does not feature in it), and only caught up with it when the Times gave away free DVDs with its Saturday edition recently. I agree entirely with other criticisms; too little happens, the dialogue doesn't flow naturally, some of the acting is wooden and there are pointless cameos (e.g. by Alfie Bass) and weak attempts at slapstick (various persons ending up in the Thames). The setting seems to be modern, i.e. 1950s, but the East Enders the Indian doctor treats belong to an older time, the time of Shaw's own play, except that some are Indian or similar. Part of the problem seems to be the placing of some of Shaw's epigrammatic dialogue in a weaker and rather inappropriate framework; the millionairess is much more ruthless and unpleasant in the play, as I remember it. Sophia Loren is a pleasure to watch, and there seems to be genuine chemistry between her and Peter Sellers (as I believe was reported off-set), but they cannot save this, and good actors like Alastair Sim and Dennis Price are wasted.

This is a better movie than I had expected. Peter Sellers did another uncannily dead on imitation of an accent, to go with his many imitations of accents from England and America, and he got to read some actual GBS lines, which was nice. There was more language from the George Bernard Shaw play than I had expected. Dennis Price and Alistair Sim offer nice comic support. I just wish they could have used an actress less concerned with how she looked and more interested in the language of the play. There are obvious flaws in this film. For starters, it suffers from extreme staginess. It's socialist message is not so much delivered but bludgeoned home. I give this film a pass because of the appealing performances by the film's leads, Peter Sellers and Sophia Loren. Sellers gives a terrific low-key turn as the sweet humanistic doctor. Loren is earthy yet manages to humanize the spoiled heiress she plays. As written, her character comes of as unappealing but Loren manages to engender empathy. Good supporting cast that includes Alistair Sim as Loren's barrister, Vittorio De Sica as a sweat shop owner, and Dennis Price as Loren's psychiatrist. Great film, great direction, great actors and actresses (Sofia Loren is amazingly beautiful, and no wonder why Sellers fell in love with her)! Overall rating: 7 out of 10.

Rather memorable on the whole. Not a great deal of laughing to be had, but certain vignettes are tasteful and entertaining, e.g. Epifania's three-month poverty-to-riches test, the doctor's futile three-month 500 pound give-away. Placing in the top quartile of my movie experiences, it's a light comedy well worth seeing.

Let me just start off by saying that George Bernard Shaw is one of my all-time favorite playwrights, and Peter Sellers is one of my all-time favorite comic actors. So naturally I think this is a pretty good movie. I admit the concept is more interesting than the actual execution. But certainly the personality of the leads does compensate. And it is a very intriguing idea. I think the best moments are when Sophia Loren's character gets the good doctor to make a house call, the Doctor trying to give his fortune away on the street and no-one bothering to take it (Would that still be the case today?), as well as Alistair Sims excellent lawyer. And having worked in the medical profession (as a lab clerk), the dry comments on the high-tech lab equipment, and ruthless beurocracy of a large medical institution rang especially true. There are certainly some exceptional social commentary behind the human story, which is the trademark of Shaw's work. But I like this movie especially for being the inspiration of the classic novelty song "Goodness Gracious Me!", which the two leads recorded in order to promote the movie. I actually think the song works better.

I am a big fan of Peter Sellers and this is one of the two reasons I saw this movie.The other one was to get some of this 60s wonderful feeling. Unfortunately both my expectations drowned during movie's running time. Seller's seemed simply not to fit in the role (at least not as much as he has spoiled us to expect from him), and nothing was there from this 60s feeling (apart from some truly kitsch, and for this adorable, nostalgic retro-future building interiors). All in all this was neither a good nor a bad movie, just a boring one.I am sure everyone expected something more than a dull and a bit childish comment on common social problems.

This film works very well, IMO, on the level of pure entertainment. There are many elements to be enjoyed. It is not a film in which one is swept away by the story and the characters. It's a film you watch with a certain detachment and never really suspend disbelief. But there is a lot of fun to be had in the amused detachment. A lot of the dialogue is really hilarious. That alone would have made it worth sitting through. But on top of that there is the way Peter Sellars interprets his particular character. The body language he brings to it and some of the nuances in his schtick are both intriguing and highly entertaining to observe. Then there is the stunning beauty of Sophia Loren which is further enhanced by a steady stream of wardrobe changes, each more spectacular than the one before. And then there is the parallel running commentary you can have in your own thoughts about how the movie plot line brings to mind some possible similarities that there may have been in the real-life relationship Princess Diana had with her very own Indian doctor, Dr. Khan, said by some to have been the love of her life. Again, a lot to enjoy about this film and well worth seeing, JMO.

Sophia Loren plays the only daughter of a wealthy Italian tycoon in London who dies and leaves his fortune to her; she's indifferent to the money and only wants love, but all her suitors are duds. Enter Peter Sellers as a doctor from India who treats the poor; he could use Sophia's money, but he's indifferent to her! Why the good doctor is uninterested in the woman is the weak link of the material, especially with Loren so glamorous. She even builds him his own state-of-the-art hospital, which of course he refuses. Sellers doesn't quite register as the saintly, don't-touch-me type, and his apprehension just stretches out this charade, but he is an interesting personality (especially when acting in a lower key). It's possible that Sophia's aggressive flirtations could scare doctor Peter away, but the deal they make here is a dull one, leading to a silly conclusion. Fine art direction, costumes and photography--and the leads make an intriguing movie-pair--but this George Bernard Shaw play is obviously not one of his better efforts. It collapses like a fancy but overworked soufflé. ** from ****