Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Tobias Burrows It's easily one of the freshest, sharpest and most enjoyable films of this year.

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

evc-11418 To me, this is about Jean Arthur -- popular, but embarrassing to be above Marlene D. on the marquis. She can be adorable, but officious and trite here - ineffective. She's not the strongest talent, but really good in some things, thanks to some beauty and personality pluses. It makes me wonder how people felt about a serious subject being almost flippantly handled in many regards. If I were a Congresswoman (probably few at that time), I'd object to Arthur's characterization.

lasttimeisaw Billy Wilder's romance-triangle comedy is set in the Allied-occupied Berlin in 1947, in the face of Hollywood's entrenched agism and sexism, A FOREIGN AFFAIR is bracingly headlined by two 40-plus female marquee players, Jean Arthur (in her penultimate picture) and Marlene Dietrich, in roles which cagily keep their real ages under wraps. Arthur plays a prudish American congresswoman Phoebe Frost of Iowa, scandalized by the dissipation she witnesses of American soldiers in the rubble strewn city, she is headstrong in making an example by finding out the American officer who is clandestinely protecting a German torch singer Erika von Schlutow (Dietrich), a woman with a Nazi past. Naturally and provincially, Captain John Pringle (an amicable and amenable Lund), another Iowan, is elected as her aide, but little does she know, John is the man she determines to uncover. So to sabatoge Phoebe's tenacious investigation, John starts to woo her and hope the flirtation can distract her, and indeed, it works (Wilder stages a fluid filibustering resistance before the pair landing their first kiss, and near the end, with a role-changing iteration), but of course, it is the bean-spilling moment that sells the tickets, when Phoebe and Erika share the same limelight, their conversation may well pass the Bechdel test, but what is at stake is a winning/losing game towards a man's love and the less glamorous Phoebe is the honorable also-run, as it seems. A looming revenge plan from one of Erika's Nazi ex-lovers, is thrown into the game in a very late stage to precipitate a switcheroo, Wilder could never allot Erika too much time in the winner's corner simply because his anti-Nazi ire, which presumably gives a certifiable license for its tepid ending. Jean Arthur, for one last time, stretches her crow's feet and psyches up for a straitlaced-to-smitten transformation, gives a fine presence but she is on a hiding to nothing in comparison with Dietrich's sultry stature and sing-song poise, especially when those ditties are written by the eminent Friedrich Hollaender (BLACK MARKET is a humdinger), Dietrich is never a singer's singer because of the discernible vocal stricture, but the combo of her contralto timbre and exterior élan is simply par excellence. While Wilder doesn't hide his personal attachment with the city in ruins, striking aerial shots bearing testimony of something its US audience may not realize at then, retrospectively A FOREIGN AFFAIR is a minor Wilder-Brackett's output because of its frothiness and a deus ex machina perhaps dished up without much deliberation.

jarrodmcdonald-1 This is not Billy Wilder's best film, and it occurs between greater classics like The Lost Weekend and Sunset Boulevard. At times, it seems as if the writer-director is going through the motions here, with another one of those ideas that work more like an extended gag (a two-minute joke stretched out to feature film length). But there are some silly moments in A Foreign Affair, and that makes it worth seeing. The humor resonates well.Also, the picture is fascinating to watch because of its two very different lead actresses. Perhaps no other film has such a unique mishmash of performance styles. As she exhibits in so many of her pictures, Jean Arthur has an unnatural way of delivering a natural performance. Then, there's Marlene Dietrich (and volumes have been written about her). Dietrich has a natural way of delivering a very unnatural performance.

moonspinner55 Director Billy Wilder also co-wrote this post-WWII comedy (along with producer Charles Brackett) involving a prim, humorless Congresswoman policing American troops stationed in Occupied Berlin, finding little but celebrations and skirt-chasing from the randy soldiers. Predictably, she finds her no-nonsense nature stirred up by an army captain, though he's currently sweet on a German chanteuse. A strictly lackluster affair; Wilder means for it to be goosey and 'grown up', yet the silliness of both the conception and the uninteresting characters defeats the players. Plodding John Lund would hardly seem to rate the pounding pulses he achieves here, and Jean Arthur's spinsterish Phoebe Frost (ha ha) is an unattractive role for the actress. Only Marlene Dietrich emerges unscathed, though her song selections are poor. ** from ****