In June 1955, at Athens’ iconic Hotel Grande Bretagne on Syntagma Square, American producer Samuel Engel and screenwriter Alec Coppel held a press conference to announce the start of filming for Boy on a Dolphin. Representing Hollywood giant 20th Century Fox, Engel explained that both the studio’s president, Spyros Skouras, and former U.S. ambassador to Greece, John Peurifoy, had long been seeking a story that would introduce Greece to American audiences.

To Engel, Greece was a country “tailor-made for modern filmmaking.” Decades later, that vision is finally gaining the recognition it deserves.

The film was based on a yet-unpublished novel by David Divine, chosen by 20th Century Fox after extensive research. In the story, a poor sponge diver discovers a rare artifact — a bronze-and-gold statue of a boy riding a dolphin — pulled from the wreckage of an ancient ship. Said to possess magical powers, the statue becomes the object of desire for competing forces: her shady boyfriend wants to sell it to a dubious collector, while she is drawn to an American archaeologist who believes it belongs to the people.

The Contribution of Cousteau

The direction of this major production was entrusted to the Romanian-born, acclaimed Hollywood director Jean Negulesco, known for hits such as How to Marry a Millionaire starring Marilyn Monroe and The Silent Enemy, for which he was nominated for an Oscar. Negulesco literally scoured Greece in search of the perfect locations for filming. He visited numerous spots across the country, including mainland Greece.

Everything had to be executed flawlessly because, by the standards of the time, the production was truly ambitious: Boy on a Dolphin would be the first film shot in the 55mm CinemaScope format, with all scenes filmed outdoors in natural settings. Islands, archaeological sites, and the Aegean Sea would be the true stars alongside the cast of The Dolphin.

From the beginning, Negulesco believed the film would include underwater scenes, which is why, even before his first visit to Greece, he had an in-depth discussion with Jacques-Yves Cousteau, the master of underwater documentaries.

Casting Sophia Loren

Originally, the studio considered Joan Collins and Robert Wagner for the lead roles of Phaedra and the American archaeologist. Later, Italian screen icon Gina Lollobrigida was briefly eyed as a potential lead opposite Cary Grant. The only confirmed cast member from the start was British actor Clifton Webb, slated to play the mysterious and wealthy antiquities collector.

Ultimately, the role went to Sophia Loren — a decision that marked her debut in an American production and became a turning point in her international career. Grant stepped away for personal reasons, wishing to stay with his wife, Betsy Drake, after she survived the sinking of the Andrea Doria. Alan Ladd, another major star of the era, replaced him, despite battling alcohol issues at the time.

Loren’s arrival in Greece caused a sensation. She was welcomed by none other than Spyros Skouras, representatives of the Greek film industry, and swarms of adoring fans. The crowd became so overwhelming that police had to intervene. Loren later confessed that she was genuinely frightened — never before had she experienced that level of public frenzy.

Her arrival in Hydra, where much of the film was shot, was equally dramatic, though scenes were also filmed elsewhere. Cinematographer Milton Krasner captured images at the Parthenon, as well as establishing shots around the Saronic Gulf. One on-set challenge? Alan Ladd was significantly shorter than Loren and had to stand on a ramp during scenes to appear taller.

Italian screen star Sophia Loren on the acropolis, with the Parthenon in the background, during a sight-seeing tour of Athens, Greece, Sept. 17, 1956. She is in Athens for scenes of the film Boy on the Dolphin, in which she co-stars with Alan Ladd and Clifton Webb. Scenes are to be shot in the Aegean Sea. (AP Photo)

A Missed Opportunity — Or the Beginning of One?

On October 20, 1956, Greek newspaper Oikonomikos Tachydromos (OT) reported: “This is a first-rate opportunity to capitalize on this extraordinary event taking place in Greece — for both artistic and tourism purposes.” The piece urged Greece to invest in a serious film industry that could eventually provide not only scenic locations, but also skilled actors and technicians.

“A respected Greek cinema industry would benefit the country enormously,” the article continued, “because major foreign productions would involve more than just free access to Greek landscapes. They would offer real work to Greek professionals.”

“This film,” it concluded, “could lay the groundwork for deeper collaborations with major international studios. Let’s roll up our sleeves and work toward that. The task is serious, rewarding, and most importantly — in the interest of our nation.”

It would take another 60 years for Greece to seriously pursue that potential — and even now, the effort comes with its share of growing pains.

INFO: Boy on a Dolphin is currently being re-released in Greek summer cinemas, distributed by Repertory in collaboration with Park Circus.