Onlinewsma Absolutely Brilliant!

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Numerootno A story that's too fascinating to pass by...

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

padawanmovies *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.

White Cloud Fans of Ingrid Bergman know that she dropped out of Hollywood in 1948, and went to Italy to love and perform for avant-garde director Roberto Rossellini. She performed exclusively for Roberto for about eight years. Ingrid's return to light comedy (after a side-step for "Elena et Des Hommes" in France)as her marriage to Rosselini was crumbling has produced "Indiscreet." What one treasures is the thought that in "Indiscreet," Ingrid may have been playing a character not too different from herself. Also, one sees the Italian influence in her acting as she storms off to her bedroom after learning the truth about Philip Adams. Ingrid never got a nomination for this performance, but it is a joy to watch. The breakfast nook scene after Philip announces that he will take the Paris job (and not go to Mexico) is so believable - we see a woman who has 40+ years showing the inner giggling of a school girl. That is worth the price of admission all by itself.

Edgar Soberon Torchia Both Ingrid Bergman and Cary Grant, as well as the grown-ups they play in this film, were all too old and worldly to be acting as fools defending the institution of marriage (and the Hays code), and no matter what Norman Krasna did to turn his stage comedy into cinema and how much the camera was moved, it is static and sort of "boxed". The usual multiple settings found in most films with original screenplays are replaced with a few clumsy solutions- as in the lovers' first date sequence: first, a scene in a private club they go for dinner; then, a scene at the ballet, where they arrive late and decided to skip it, and then another scene in the boring private club, while it had been better option to go somewhere else, a feeling that is confirmed when they decide to walk back home. All this said (and more that can be said against it), Bergman, Grant, Phyllis Calvert and Cecil Parker all manage the innuendo and little jokes with the appropriate and winning charm of the sophisticated comedy of yesterday, that one does not regret much having spent 90 minutes with these silly and wealthy characters.

writers_reign 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.