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tourist savvy that would do discredit to a John Wayne.

He promptly gets involved with a hipsterish chauffeur (Jack Lenoir), who introduces him to the joys of Gallic living, and a glamorous neighbor at the Hotel Régina (Gayle Hunnicutt, whom it is nice to see again, though the Régina, after similar use in The Other Side of Midnight, begins to pall), who initiates him into the pleasures of cosmopolitan adultery. Watching this movie is comparable to reading an article in Seventeen about the glories of Paris, while sipping a vin ordinaire gone slightly sour. After a parade of visual and aural clichés—shot, directed, and acted true to stereotype—we are finally treated to a slightly ambiguous ending, but this presumably adult element is scarcely more thought-provoking than the standard shot of the Eiffel Tower.

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tourist savvy that would do discredit to a John Wayne.

He promptly gets involved with a hipsterish chauffeur (Jack Lenoir), who introduces him to the joys of Gallic living, and a glamorous neighbor at the Hotel Régina (Gayle Hunnicutt, whom it is nice to see again, though the Régina, after similar use in The Other Side of Midnight, begins to pall), who initiates him into the pleasures of cosmopolitan adultery. Watching this movie is comparable to reading an article in Seventeen about the glories of Paris, while sipping a vin ordinaire gone slightly sour. After a parade of visual and aural clichés—shot, directed, and acted true to stereotype—we are finally treated to a slightly ambiguous ending, but this presumably adult element is scarcely more thought-provoking than the standard shot of the Eiffel Tower.