Indiscreet (1958)

*PRBLY CONTAINS SPOILERS*I love movie's from decades past as much as I love modern movies. So whenever I recognize at least one actors' name and find the plot interesting I'll watch; that's what happened with this film. At first I had to hit the info button to see what genre this was; I was initially surprised by the comedy categorization. But after awhile I did notice a number of funny parts. Some of my favorites included: Ingrid's scream when she hears Grant's not single was so funny. Grant's giddy attitude and dancing at the ball, he looked so jovial and adorable although I did chuckle when he slips while he's jumping around. Bergman's line of "I need a man" then the help asks "Do u need someone to lift something?" had me laughing so hard that entire scene. But by far my favorite part of the movie is Carl steps out then back into the bedroom, pretending to be the other man it was such a minute moment, almost immature, but I had to rewind back like 5 times, it was SO HILARIOUS had me laughing uncontrollably.

like many old films, not exactly the story is the source of seduction. or, more precise, not the basic source. but the meet with two great actors and theirs performances in the lead roles. and the right performances for the secondary roles, like perfect frame. Ingrid Bergman is admirable in the role of famous actress and Cary Grant is himself, the same from so many films, mixing charm, ambiguity and humor in a splendid way, giving a fascinating character who preserves the flavor of great performance after the end of film. short, a lovely film, game of masks, doubts and love , remembering the atmosphere of a subtle art.

It was an inspired touch to begin what is arguably the ultimate Rom-Com with a montage of an unappetising winter night scenes in London which finally settle on the luxurious apartment of Anna Kalman (Bergman) as she enters, alone, after cutting short a holiday abroad. Within minutes she is joined by both her housekeeper and chauffeur (Megs Jenkins, David Kossman) and sister (Phyllis Calvert) and brother-in-law (Cecil Parker) who have arrived - thinking Bergman still away - merely to change into evening clothes before attending a diplomatic dinner. Thus well within five minutes screen time we have established a luxury apartment inhabited by a highly successful actress moving in the highest circles. Clearly the original play ('Kind Sir') adapted by the author, Norman Krasna, was confined to this one set and it does, despite 'opening out' retain the feel of a sophisticated play rather than a film. There is, however, a highly 'filmic' moment well within the first reel (and it may well have been retained from the play) when Bergman, head covered in shampoo, Calvert and Parker, turn to find Cary Grant standing in the open doorway personifying charm, glamor and sex appeal with the clear nod to a similar scene in 'Swingtime' when Fred has just sung the ultimate romantic ballad, 'The Way You Look Tonight' to a Ginger similarly lathered in shampoo, reinforcing the magical cinematic quality. Though shooting in color Stanley Donen elects to downplay the lavish sets and let the performances do the glittering. Wise move. Yes, it's frothy, yes, it's insubstantial but YES, YES, YES, it is pure ENTERTAINMENT. Strongly recommended.

A stage actress meets the man of her dreams, but he turns out to be married, which she doesn't mind. Given the talents involved, this one is quite disappointing. Grant and Bergman have the star power to overcome inferior material, but the script for this one is so anemic that even they can't breathe life into it. It also appears that the stars were a bit long in the tooth for these roles as written, as they often behave like teenagers in love. Krasna, who adapted his own play, has a long list of screen writing credits, but this one is mostly dull, although it does pick up some steam towards the end. Donen does little to breathe life into it.