Fantastic!

Pretty good movie overall. First half was nothing special but it got better as it went along.

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Director Stanley Donen hates tension, hates high stakes. His films depend on glamour and performer charm, and an at-least-mildly-compelling script, as with 'Two for the Road'.'Indiscreet' by its casting suggests something akin to Hitchcock's 'Notorious'. Nope. Here, Ingrid Bergman and Cary Grant are charming and skilled, but the script is hack Broadway comedy of manners -- what they used to call a 'sex comedy'. 'Indiscreet' is full of tedious, repetitive exposition and explanation, in lieu of anything like action. On stage that can succeed with electrifying performers; on film, it's a no-go -- a fact known from the time of the early talkies.Bergman plays a stage actress, and makes the madly intelligent choice to play her without a speck of artifice. Bergman's marvelous technique of presenting authentic behavior, suggests a real, fleshy, smart and worldly human -- hers is a performance miles beyond the material, a performance timeless in its honesty. Particularly effective are scenes where she handles constant autograph seekers at the most inconvenient moments -- Bergman's ambiguous dark/polite responses are profound.Cary Grant is Cary Grant, which goes a long way, but quickly wears out its welcome with a script too tired to even get started. Everybody's wealthy, commute casually by jet, live in palatial suites and go to expensive places, wear evening clothes, are smooth with each others' contented servants, carefully talk about the weather in front of elevator operators -- it's a poor child's fantasy of wealth and sophistication.I guess in 1958 unmarried people having sex was considered a spicy enough subject to require burial in blandness. This movie's big daring moment: its famous split-screen effect showing the sexy couple talking to each other by phone in their respective beds, as if side by side -- a cheeky way to circumvent Production Code restrictions against a man and a woman sharing a bed. At one point Grant fiddles with his bedding on the right side of his frame, making *virtual* contact with Bergman's hiney on the left side of her frame -- both are directed to giggle at the precise moment. Cute gimmick, admirable for its tawdriness, but not enough to sustain the other creaky 99 minutes.The color is garish like the old Sunday funnies -- over-saturated primary colors everywhere. Grant and Bergman's faces look like rouged oranges. I was certain it was horrible 1980s digital colorization -- later research proved the film was indeed shot in Technicolor. Post-WWII and into the 1950s, British film producers paying for expensive Technicolor liked to get their money's worth. Masters like Michael Powell used strong colors to spectacular effect, e.g., 'The Red Shoes', 'Black Narcissus'. Inferior product like 'Indiscreet' reminds us not to take our real cinema artists for granted.

Two materialistic shallow non entities with as much charm as calculators meet. The romance is flat depressing and full of embarrassing silences such as when Grant stares at her like a moron whilst she eats her breakfast uncomfortable in his stare, it is very similar to Pretty woman as the writer thinks money is romance.If Bacall and Bogart are like introducing Nitro to Glycerin then these two is like introducing Liquid to Nitrogen.Strip away their money there would be nothing left at all."Bar deeps Giddy Grot" that's how you say "My name's Cary Grant" in his voice.

You call this romantic comedy? What a farce. Cary Grant, a known womanizer plays a NATO Representative who meets the sister-in-law of a fellow diplomat. Ingrid Bergman is that woman and in the movie she portrays a well-known theatrical actress.The two fall for each other quickly, but Grant is married and supposedly cannot get a divorce. Remember I said the word supposedly.When the Bergman character learns the truth she plots to fix Adams (Grant) but good, but that plot falls apart as well as the picture.This story could have been told in about 20 minutes. Probably, the best part of the movie is when Bergman and Grant participate in a Scottish dance. Grant really kicks up his heels. Bergman is no slouch either, but her silly way to get even is just inane.

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.