What a waste of my time!!!

What a beautiful movie!

Fantastic!

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

What an interesting, conflicting film this is. Jean Arthur plays a congresswoman visiting Germany after the war to check up on the troops stationed there. Marlene Dietrich is a cabaret singer rumored to have been a mistress of one of the top Nazis, and now carrying on an affair with an American officer (John Lund). As Arthur probes into Dietrich, Lund tries to run interference by getting involved with her romantically, thus setting up a love triangle.There are many great things about the film, starting with the footage of Berlin, which was still absolutely devastated by the war. It's sobering, and even as we think of the atrocities Hitler and the Nazis committed, it's still very sad. The film gives us an interesting window into the dynamics of post-war Germany. How does one sort out responsibility and guilt amongst the Germans? The simple question Lund asks Dietrich at one point, "How much of a Nazi were you, anyway?", without deep accusation in his voice or even too concerned with her answer, has a lot of depth to it. One of the difficult things to watch is American soldiers hunting down impoverished German women, and using material goods like chocolate to take advantage of them. It's cringe-worthy on its own, and then more so when the behavior is explained by saying the men had been pushing the entire war, and now hard to control by just putting a stop sign up in front of them. It may be an honest reflection of reality though, and I loved Arthur's criticism "In your admirable effort to civilize this country, our boys are rapidly becoming barbarians themselves." Lest you be outraged that the Allies, the true heroes of this war, may be unfairly treated, don't be alarmed - the American characters point out many sites of Nazi activity now mostly in ruins on a city tour, and allude to their atrocities. I thought the balance was good, and frankly pretty amazing considering director Billy Wilder was Jewish, and lived in Austria and Germany until leaving for Hollywood at 27 in 1933.Marlene Dietrich is iconic, and as a German-American who had to be convinced to take the part of a Nazi collaborator since the idea was so repugnant to her, her performance is filled with soul and depth. I loved the scenes with her singing in the cheap, crowded, and smoky Berlin nightclub, and the move she makes to take a puff on a cigarette before putting in into her pianist's mouth is silky smooth. There is something magical about her performances, and her world-weary, sophisticated character in general. And how ironic is the 'grandfather' comment an officer makes at the end, when Dietrich in real life was just about to become a grandmother?I was intrigued by the contrast between Jean Arthur and Dietrich in the same film, and I loved the fact that they were 48 and 47, respectively. Unfortunately, I was less of a fan of Arthur here, and it kills me to say that. I think the biggest issue was with the role itself, which has her character going from serious congresswoman to puddle of goo after the smallest overture by Lund. Suddenly she can't even dress or apply lipstick without his assistance, nor resist his advances. As an actor she ends up being caught in the middle - not serious enough to deliver a performance which would have further delved into the realities of war amidst the rubble, but not charming enough to be truly endearing. She just doesn't have chemistry with Lund, and her performance of the "Iowa Corn Song" is not great, to put it mildly. The situation she ends up in following a raid of the cabaret is contrived, though how the love triangle plays out is reasonably good, and Arthur delivers in her somber moments.Overall, a film that gives you post-war Berlin, Dietrich singing in a smoky cabaret, and some food for thought. It's flawed and feels too light, but to show more of the reality of the devastation and squalor may have been too much. Wilder gets his points in, and tells us a story on top of it. It also stuck with me.

How can critics snub this great movie? Maybe they didn't want to be associated with empathy for the Germans in 1948. Maybe they were nervous about showing politicians for what they are. Maybe they just don't like Marlene. This is one of the best movies of all time. Great acting. Great story. Great production. And of course, great direction. The use of songs and music throughout the picture that hold together with the story is marvelous. So many great funny lines. I don't know why John Lund didn't find more work in comedy. He demonstrated how good he is in this one. Love this film back when and now.

Let me state this at the beginning: I am not a particular fan of post-war movies because WWII was a very infamous page of history. Whenever I encounter a story from that period, I prepare myself for heavy experience and get loaded with hard reflections. However, A FOREIGN AFFAIR has been one of the exceptional movies. Being inspired by the original story by David Shaw and masterfully directed by genius director Billy Wilder with the clever screen play by Charles Brackett, the film stands out as a unique production. Although the action is entirely set in the 'ruins of Berlin' where people suffer the consequences of the war, one gets an unforgettable insight into the characters. Through the authentic depiction of the times, we are led to certain characters in a natural manner, the characters who act differently; yet...something links them...something that you, as a viewer, must find out yourself.To start with, let me refer to the major idea of the plot because without it, I would not be able to discuss the core point of the story. The American Congress sends a committee to the divided Berlin where they are supposed to investigate the morale of American soldiers. In other words, their task is to eliminate the 'moral malaria' that, according to the great legion of decency, is more dangerous than anything else. Among them is a charming lady, Ms Phoebe Frost (Jean Arthur) whose determination in questioning will soon turn into passion in kissing. And...what they discover in the ruins of Berlin is an outrageous scandal that resembles the very violation of the law, the very default of moral decency - immoral bars with 'forbidden entertainment.' It occurs the the infamous Lorelei bar is visited by American captains... Isn't the fact about Republicans being kissed by former Nazi women truly subversive?The change that is depicted in Ms Frost is a clear message of the movie which says openly: desires far beyond regulations, humanity far beyond the law, the mutual far beyond the divided. From today's perspective, we look at it in a different way; this idea is more obvious to us. But in 1948 when the division of Berlin was the new political situation, it demanded a great courage to make such a film! That aspect which so authentically manifests the German situation after the war was nicely executed in the scene between Phoebe and Captain Pringle - their first love moment in fact. Being angry about the amount of work she does for investigation, Pringle asks her what she does anything for normal human reactions like laugh or tears. Then, in the witty moment, the shelves trap the young fragile beauty and... they kiss. Here, her rules give in at last! New York Times reviewer Bosley Crowther praised the job of the movie by saying: "Particularly, their interest is in how human beings behave when confronted by other human beings—especially those of the opposite sex. And their logical conclusion is that, granted attractions back and forth, most people—despite regulations and even differences in language and politics—are likely to do toward one another that which comes naturally." That aspect is also memorably revealed in two of Ms Dietrich's famous songs: "Illusions" and "Black Market." The songs occur to manifest the romantic aspect of the movie but also 'its vagrant cynicism and its unmistakable point." (Crowther).Not much would be achieved if it weren't for the performances. It is another Marlene Dietrich's stunning achievement under Billy Wilder's direction. Here she portrays a realistic woman, a German woman who does not give in in spite of the harsh reality. The role of Erika Von Schluetow was, in fact, the role for Marlene because she loved Berlin and she loved the right German spirit which, paradoxically, does not have much in common with the Nazi monstrosity. Her role remains in the memory of a contemporary movie buff as the depiction of the sensual woman rather than a former Nazi, who becomes even more sophisticated and glamorous in the eyes of other characters. She is at the center again, a similar entertainer like in DER BLAUE ENGEL; yet, a differently experienced 'sex symbol' Her appeal is strong enough to put the legion of decency onto its knees. Her scenes leave the viewer breathless, her songs are unforgettable reaching their climax, of course, at the final song "in the ruins of Berlin." Her first moment rewards you with wit... teeth brushing followed by a splash of... 'indecent behavior.' John Lund is fine as Captain Pringle, natural with the right sense of humor and a great flair for teaching young ladies how to yearn for his lips and how to investigate the bottles. Jean Arthur is a revelation in the role that required from her a great challenge: how to portray A CHARACTER that experiences the 'metamorphosis'; in other words, how to portray TWO CHARACTERS? She does it wonderfully becoming equally captivating in both incarnations: as the restrained letter of the law and as a genuine human being. I will never forget her hilarious moments as Gretl who knows one German word "Javol!" Finally, I would like to focus on one more aspect that perhaps has not been quite popular among the critics but occurs to be of significant meaning. Since Germany (Third Reich) was responsible for WWII, not many people concentrated on their suffering. In fact, the suffering of Berlin was quite ignored, seen perhaps more as a 'punishment' for the Nazi system. Yet, was the whole nation guilty? A FOREIGN AFFAIR is a revelation in the sense that it truly speaks for the German nation which, though caused divisions, was at the same time a bridge among people. Great script, wonderful performances, flawless direction and an interesting insight into the post-war Berlin, a city that ALSO suffered. In the ruins of Berlin, a new spirit was born and the song goes on telling us stories of unique dreams, desires and foreign affairs...

Although A Foreign Affair turned out to be a big success for all involved, biographies of Billy Wilder, Jean Arthur, and Marlene Dietrich all talk about the difficulties they had in this film. Especially Wilder and Arthur.Paramount put up some big bucks for this film, even including sending Billy Wilder and a second unit team to film the surviving city of Berlin from World War II. It all paid off quite nicely and you can bet the footage found it's way into films not half as good. It looks far better than the standard newsreel films that are often used as background for foreign locations.Marlene Dietrich plays the girlfriend of former Nazi bigwig Peter Von Zerneck who is presumed dead by the public at large, but the army knows is very much alive. How to smoke him out is the problem that Colonel Millard Mitchell of the occupying forces has. He decides to use the growing relationship that Captain John Lund has with Dietrich as Von Zerneck is the jealous type.But into the picture comes Jean Arthur, part of a group of visiting members of Congress touring occupied Berlin. Arthur departs from the group and starts conducting her own investigations and in the way Joseph Cotten was doing in occupied Vienna in The Third Man blundering his way into an investigation in the British sector there, Arthur threatens to blow up all of Mitchell's plans. Especially since Lund is starting to switch gears and drop Marlene for Jean. Dietrich comes out best in this film. Not only was she German, but she was born and grew up in Berlin. Marlene may have invested more of herself in her character of Erika Von Schluetow than in any other film she did. She gets three great original songs by Frederick Hollander, Black Market, Illusions, and The Ruins Of Berlin that speak not to just her character, but to the sullen character of a beaten people. By the way that's composer Hollander himself accompanying her at the piano.Dietrich and Wilder got along just great, both being refugees from Nazism. They got along so good that Arthur felt she was being frozen out and Wilder was favoring Dietrich.Both Frank Capra and Cecil B. DeMille spoke of the difficulties in working with Jean Arthur and Billy Wilder also echoes what his colleagues said in their memoirs. Arthur was a terribly insecure person and it took a lot of patience to work with her. The results were usually worth it to the movie going public, but for her fellow workers on the film it could be painful. A Foreign Affair may have been good training for Wilder when he later had to get performances out of another diva, Marilyn Monroe. Wilder came in for a lot of criticism showing our occupying forces in a less than perfect light and also making fun of a member of Congress and a Republican at that as Jean was in the film, most definitely not in real life. Millard Mitchell's a smart and tough professional soldier, but he's a bit of fathead as well as extols the virtue of teaching German youth baseball as a method of deNazification. As if it were that simple. But A Foreign Affair has held up very well over 60 years now and is Billy Wilder at some of his satirical and cynical best.