Maybe it's because my expectations were so low that I was pleasantly surprised. I thought it was the fluffy counterpart to the other Delmer Daves movies, eg Summer Place, etc. A romantic travelogue silly movie. I was surprised. Yes, it's dated beyond belief, with the sole focus of Suzanne Pleshette being a "good girl" or a "bad girl" - the same lament as Sandra Dee and the other juvenile leads of the time. And yes, surprisingly, there's dialogue that sounds like it's written by men ABOUT women and speaking FOR women - such as characters like Angie Dickenson who has claws and feminine wiles, and a later thematic scene between Pleshette and Brazzi, when we learn that the primary role of woman is to ultimate support and encourage her man. But putting aside the obvious dated content, I found a lot of richness and soul in acting and direction that surprised me. Suzanne Pleshette's inner warmth and intelligence infuse her performance beyond the boundaries of this kind of material. She never became a big film star, not sure why, but this performance, her first lead, was very impressive in transmitting her aura intact to the audience. Troy Donahue would never win an acting Oscar, but he has two redeeming qualities, or maybe three: he is so beautiful to look at that you soak up his beauty with every shot, as a treat in itself; he has an innate sincerity that, even if he isn't Laurence Olivier, still gives his screen presence grounded and appeal; and he's just a big ol' movie star with charisma that makes you want to watch him. Constance Ford is always fabulous. And the scenery was a pleasure, and the tour of Italy was more substantive and less filler than usual, for these movies. I appreciated the narrative of some of the sights. Of course, all of us watching this movie really enjoy the debonair, long-disappeared dressing-up, from skirts and heels, to daytime suits, and nighttime gowns and tuxes. I'm glad we don't have to dress like that - I enjoy wearing shorts and flipflops - but it's wonderful and wistfully nostalgic to see. The one negative for me was Angie Dickinson. I thought her innate intelligence and warmth was also palpable, like Suzanne Pleshette, so I was impressed in that sense. But her character was written so caricaturishly as a viper and shallow, that it diminished the overall quality of the film, since it was the single plot device beyond boy meets girl, falls in love with girl, has a falling out with girl, and reteems with girl. Angie's part was the plot device, and the weak link in an otherwise pretty enjoyable film.