Woman of Straw

Playboy Anthony Richmond schemes to acquire the £50 million fortune of his uncle Charles Richmond, a tyrannical, arrogant wheelchaired tycoon, by persuading Maria Marcello, the new Italian nurse he has hired to marry the old man in exchange of one million pounds.

A sincere Maria endures the verbal and emotional abuse of Charles both at his estate and on a yacht trip in Mallorca, Spain where they wed and a humbled Charles changes his will to leave all his fortune to Maria, leaving only 40,000 pounds to his nephew.

After his uncle's death at the yacht one morning, both Anthony and Maria concoct a scheme to pretend he is still living as they return to the estate. Maria later becomes a murder suspect after admitting their scheme to the detectives, and later discovers that Anthony murdered his own Uncle with Barbiturate poison, and purposely misled Maria about Charles last will and testimony in order to trap her into the crime alone while he ulteriorly inherits the money after her conviction.

Detective Lomer and Negroid servant Thomas later revealed a tape recording by Charles at his deathbed, exposing Anthony of the murder and tries to escape. The servant Thomas pushes the wheelchair of Charles towards Anthony, who falls into his death on the grand staircase while a vengeful ghostly wheelchair overlooks Anthony, now dead. Maria regains justice and is found to be innocent by the court, inheriting the estate and fortune of Charles and the film ends with credits.

The character of Lollobrigida' refers to the Woman of Straw of the title.

The film was shot at Pinewood Studios, Audley End House in Saffron Walden, Essex and in Majorca in the Balearic Islands between August and October 1963.^[5] The Majorca footage, including much footage in a boat off the coast, was shot on location in September 1963. Gina Lollobrigida was reportedly "demanding and temperamental" during the filming, frequently clashing with Connery and Dearden.^[5]

The Monthly Film Bulletin wrote: "With three accomplished performers, a well-handled supporting cast (led by the ever-reliable Alexander Knox), with palatial settings and a harmonious sense of colour, this run-of-the-mill melodrama could hardly fail to offer a mild thrill or two. Richardson has the eyes to penetrate one's nerve when the dark glasses of a dead man slip; and Sean Connery turns up a contemporary-type Hamlet, sneer, sable and all, capable of showing any of his prototypes how to deal with the cowardice of conscience. But this type of script needs a flamboyant sense of dramatic symbolism to bring it to life – a towering Wellesian view of a lift climbing slowly past arches and chandeliers, a more shattering use of the visual imagery of polished cars such as Losey can make, a touch of Hitchcock to sharpen suspense and turn the howl of a dog into something inhuman instead of noises off. Any film of such glamorous pretensions cannot fail to evoke memories of what can be done with similar material. Even Beethoven echoing from yacht to shore fails to carry the titanic irony of Richmond's necromantic homecoming, and the reason lies, as so often in British films, in a reluctant approach to the theme."^[6]

In The New York Times, Eugene Archer wrote, "what could be more archaic than the sight of James Bond himself, Sean Connery, stalking glumly through the very type of old-fashioned thriller he usually mocks? That is exactly what we have in "Woman of Straw," and you can be certain that Mr. Connery did not look one bit more unhappy than yesterday's audience at the Criterion, where the hapless British film crept into town. For, despite the fancy trappings laid on by the respected old producer-director team of Michael Relph and Basil Dearden, this handsomely colored exercise is the kind of pseudo-Victorian nonsense that Alfred Hitchcock long ago laid to rest".^[7]

• Woman of Straw at IMDb
• Woman of Straw at AllMovie
• Woman of Straw at the TCM Movie Database
• Woman of Straw at the AFI Catalog of Feature Films
• Woman of Straw at Rotten Tomatoes