UK (London) - May 28,
1958 - The Key - 121'
|German poster||American poster||American poster||Spanish poster|
Studio, Borehamwood (UK)
Carl Foreman and Aubrey Baring for
Due to its potentially controversial subject matter of a heroine of "loose morals," The Key was shot with two different endings: in the American version, Holden winds up the epic by catching a train on which his Sophia is fleeing from something or other. Happy ending! In Europe, Holden misses the train, and Sophia chugs off into the night with her leading man puffing at the station.
Loren took the role in this less-than-enviable Foreman opus against the wishes of Ponti, wanting to attain status by working with such stellar talents as Reed, Howard, and Holden. Ponti's discomfort prompted him to provide male chaperones for his voluptuous wife whose "raw sensuality" apparently attracted both Holden and Reed. TV Guide
Trevor Howard wins Best British Actor award at the British Academy.
"One of the finest films produced in this country".
Felix Barker, Evening News.
from Sophia Loren, the director
has drawn a performance that is touching and tender. She has never
lovelier, which is no mean achievement when you remember that she is
ever seen in anything except her night clothes. In the hands of a less
actress, this could have been just another story of a kind-hearted
woman in a
back bedroom. Miss Loren gives the role an extra dimension and lifts it
tawdry origins. She helps make The Key a strange, sombre, compelling
Loren is affectingly distant
yet quickly tender as the mystifying girl."
think this is her best American picture so far."
is excellent, and the film plays interestingly with the idea of
woman's mystery being the product of male prejudice and fear."
Playing down her
Sophia Loren is heartbreakingly vulnerable in this adaptation of Jan De
Hartog's novel, Stella.