Monte Carlo Or Bust is a wonderful, light ,fluffy affair, and contains an ensemble cast which includes the delights of the likes of Terry-Thomas, Peter Cook and Dudley Moore. It’s about an international car rally, where the drivers must reach certain check-points stationed across Europe, and of course, all sorts of chicanery ensues, on and off the track. Curtis plays Chester Schofield, an energetic, idealistic, if slightly nerdy, American, set in contrast to Terry-Thomas’ spoilt, upper class trustrafarian, who prefers to knobble the opposition rather than compete with them fairly and squarely.

Curtis’ performance is an absolute joy – when we first see him he is wearing spectacles and a dandyish check coat, listening to jazz as he bops his way towards an exasperated Terry-Thomas – we are charmed straight away. But crucially, he is not commenting on what he is doing, what wins us over is his total commitment and honesty, and that he seems to have made an acting choice he genuinely relishes. With Curtis here, the character is always present, this is mostly because he is doing some old school characterization work which we don’t see very much anymore because too many actors these days think they have something to say, or if we do see it, then it’s done in an oh-so ironic way, the actor appears to separate himself from the characterization, as though mocking it. Curtis is living it, and having a good time too, which in turn creates an enriching experience for the audience.

Curtis’ performance however, is at it’s most sublime in his scenes with Susan Hampshire, who plays his love interest. There is a moment when he sees her for the first time, and he clumsily removes his glasses, and then the camera cuts away to Hampshire, and when it comes back to Curtis, he is holding his glasses in his hand and sort of pressing them against his chin, as if he is trying to masque the embarassment his immediate feelings for Hampshire are causing him, but it also shows us the awe in which he holds her. Curtis is able to express complex feelings simply, and all in a brief moment. Throughout his scenes with Hampshire, Curtis nevers indicates to us how “sensitive” and “deep” he is, he never tries to find a little moment near the end of a scene where he lets his lip quiver so we can feel sorry for him, that loathsome practice which seems to be so common these days. There is no cutsiness from Curtis (nor from Hampshire, to be fair), he simply plays the scenes, committing to the actions, doing them as fully and honestly as he can, and consequently, his relationship with Hampshire becomes moving and fascinating to us, and all this in what is apparently a souffle comedy.

Tony Curtis is an exqusite actor, if I hadn’t written about Monte Carlo Or Bust, I could easily have written about The Defiant Ones or Sweet Smell Of Success (and I may still do so) to name but two. Sure he has movie star charisma, but he also has generosity, he wants to give the audience something. He’s honest. He is totally commited to the scene he is playing, and this in turn energises him, and helps him to use his personality fully. He also enjoys acting, and enjoys the acting choices he makes in scenes. Tony Curtis acts from the heart, and, as they say, what comes from the heart, goes to the heart, and I for one am thankful for that.

Tony Curtis, what an example.

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