On the screen you get ’em all, what about off? It’s pouring rain at the funeral of Hollywood screen star, the Spanish sex symbol Maria Vargas, and we learn about her life from the men who became beguiled by her … Washed-up film director Harry Dawes (Humphrey Bogart) is on the outs but gets a second chance at stardom when he discovers stunning peasant Vargas (Ava Gardner) dancing in a nightclub in Madrid. Goaded by his megalomaniac producer, strong-arming Wall Street financier Kirk Edwards (Warren Stevens), Harry convinces Maria to screen test for, and then star in, the next film he will write and direct. Publicist Oscar Muldoon (Edmond O’Brien) makes sure she’s a sensation. But as Edwards’ possessive nature and the realities of stardom weigh on Maria, she seeks a genuine lover with whom she can escape and takes refuge with a wastrel playboy Alberto Bravano (Marius Goring) before true love rescues her arriving in a white automobile … I waste my money with pleasure but yours is just a waste. Writer/director (and producer) Joseph Mankiewicz joined the ranks of those filmmakers (Wilder, Minnelli) who turned on Hollywood for this baroque exploration of directors looking for inspiration: when all else fails, eat yourself, as Sunset Blvd. and The Bad and the Beautiful demonstrated. Despite the casting and the setting (the cinematography doesn’t come across well at this juncture) this doesn’t quite click in the first part: it isn’t as sharply attractive as those productions, with Bogart perhaps a little too laconic as the narrator of this introductory section which is all exposition and caricature. But Mankiewicz made Letter to Three Wives so he knows how to make things interesting and he plays with the narration. The entire mood lifts with the shift to the voice of brash publicist Muldoon explaining life in Hollywood, before moving back and forth to Harry; and then to the lover and husband Vincenzo Torlato-Favrini (Rossano Brazzi), the Italian count who is last in his line and fails to declare a terrible secret, dooming their union. The overlapping and conflicting accounts combine to create a clever, arresting portrait of the industry and stardom after the first few story missteps, with Gardner ultimately endearing as her enigmatic character develops, desperate to find her true love when the fairytale disintegrates and her humanity destroys her. Naturally she looks utterly stunning in this vague take on the career of Rita Hayworth with touches of King Farouk, the Duke of Windsor and Howard Hughes figuring amongst the male ensemble. How much more like a dream can a dream be?