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Character's Name: Philip Adams
Release Date:  May 20, 1958
Director: Stanley Donen
Studio:  Warner Bros.
Running Time: 100 minutes

Cast: Cary Grant (Philip Adams), Ingrid Bergman (Anna Kalman), Cecil Parker (Alfred Munson), Phyllis Calvert (Margaret Munson), David Kossoff (Carl Banks), Megs Jenkins (Doris Banks), Oliver Johnston (Finleigh), Middleton Woods (Finleigh's Clerk)

- by Zoë Shaw
Anna meets Philip, and invites him to the ballet. He tells her that he is married, separated and unable to get a divorce. She still agrees to their becoming friends. Philip goes to New York, and in the meantime Anna's brother-in-law, Alfred, discovers that Philip has never been married. Anna finds out too, and is angered by this. She plans to make Philip jealous, but when he sees Anna in her bedroom with another man, he decides not to propose to her as he had planned.

- by Heather Doughty
This film, made in 1958, brings together Cary Grant (Philip) and Ingrid Bergman (Anna) for the first time since "Notorious" in 1946. It is a romantic comedy between two slightly older, but still impeccably suave and beautiful characters. Grant plays Philip Adams, a financial expert while Bergman plays Anna Kalman, an actress on the London stage. The two meet at a dinner meeting where Philip is a featured speaker, and the sparks fly. However, he tells Anna that he is married, separated, and unable to get a divorce. They continue their friendship/romance for a time, until Philip is called away to New York on business. In the mean time, it is discovered that he has never been married, and only told Anna he was married to avoid any permanent romances. In true jilted style, she plots revenge which culminates in a hilarious scene where Philip returns to London to propose, only to find another man in Anna's room. Of course, after all of the confusion and bickering between our two stars, they end up together. (Could we expect anything less of the wonderful Cary?) Although this movie is not one of my favorite romantic comedies, the performances are wonderful and it's a movie worth seeing.

VARIETY Film Review - May 28, 1958
- by "Ron"
- submitted by Barry Martin
A beguiling love story delicately deranged by the complications of sophisticated comedy, "Indiscreet" is an expert film version of Norman Krasna's 1953 stage play, "Kind Sir."  Though tedious in its opening reels, the Stanley Donen production warms up in direct relation to the heat of the love affair and, in the end, manages to fade out in a blaze of playful merriment.  Its stars, Cary Grant and Ingrid Bergman, lift this Warner Bros. release into the "must see" class, a pickup which the boxoffice is likely to reflect.

Striking hardest is Miss Bergman, who gives what well may be the most delightful performance of her career.  As the successful actress who has yet to find love, Miss Bergman is alluring, most affectionate and highly amusing.  Grant makes a ripping gadabout, conniving and gracious, his performance sometimes hilarious and always smooth.

Moving from the New York of "Kind Sir," the locale of "Indiscreet" has been shipped to London where Miss Bergman lives and wants to love.  Grant, a rich American who holds a NATO post, lives there too (at least on weekends, commuting as he does from Paris) and he too wants to love.  But the difference is he wants nothing of marriage and, to protect all concerned, advises Miss Bergman on first meeting that he is a married man, separated and unable to obtain a divorce.  Still she invites him to the ballet, and there is born a touching love.  She, with her heart full, settles for an affair with no strings attached.

Eventually finding out from her nosey sister that Grant truly isn't married, Miss Bergman goes into an enchanting tirade, blasting, "How dare he make love to me when he's not a married man!"  She sets a trap for him, building a fire under his jealousy, and, after a rollicking set-to, he proposes ... marriage.

Cecil Parker, as the brother-in-law, becomes funnier as he becomes more unnerved, and Phyllis Calvert is excellent as the sister.  Megs Jenkins turns in a fine performance as the maid, and David Kossoff, as the chauffeur, admirably grabs the high spot of hilarity with his pseudo-lover stroll-on.

Technical credit is difficult to assess in light of the preview film being a work print.  Frederick A Young's Technicolor photography mostly stays indoors, though what little he does show of London is distinguished.  Art Director Don Ashton has created a lush living room interior, loaded with paintings, pillows and color, and his recreation of the Royal Naval College's Painted Hall is artistically and skillfully accomplished.  Music by Richard Bennett and Ken Jones is particularly effective in its romantic emphasis on piano.  And an engaging wrapping is provided by clever title credits designed by Maurice Binder.  

NEW YORK TIMES Film Review - June 27, 1958
- by A.H. Weiler
- submitted by Barry Martin
Call it a tiny miracle or a testament to perseverance, but "Kind Sir," Norman Krasna's comedy that did not capture the heart of every critic and Broadway playgoer in 1953, has been retitled "Indiscreet" and transformed into a thin but impishly gay and enchanting film that was unveiled at the Music Hall yesterday.

Mr. Krasna, who adapted his still weightless play, has not given it any added body.  But with the assistance of Ingrid Bergman and Cary Grant, who previously proved that they were made for each other, and producer-director Stanley Donen, who appears to be in favor of amour and an impious joke, they have concocted a frivolous and diverting antic.

It should be noted, for the record, that while the story is basically unchanged, these happily irreverent goings-on have been switched from the original New York locale to London's Mayfair.  The change of scene seems to have done the play and its principals a world of good.

Several episodes are set in the authentic Painted Hall of the Royal Naval College and the Garrick Club, as well as a tastefully furnished apartment in one of London's more soignée sectors.  They are "naturals" for the color camera.

Shere color, however, is not entirely what this company had in mind.  The play's the thing here, and our players, as we were saying, make the most of it.  They are involved once again with the idea that love and/or a bit of dalliance can be fascinating to two mature people.  The lovebirds in this case are a famed actress who has been ready for love for too long a time and an American banker-diplomat who is the darling of NATO as well as women.

Before our lithe, handsome suitor can make any strong point for a subject as serious as, say, "hard currency," our heroine, as well as our hero, are smitten.  This, of course, would not turn the head or heart of a shopgirl or a clerk, but our troupe, craftsmen to the core, have come up with a gimmick.

Our man seems to be honest.  He defends himself by stating forthrightly that he is married and therefore cannot be accused of misrepresentation.  His sly play works.  Our lady, after a deliciously tender and subtle courtship, becomes his devoted slave.  She understands his position and still is girlishly devoted to him.

But is our statesman tied down by a spouse he cannot divorce?  Not on your life.  And when our enchanted lady learns that this is his shield against the slings and arrows of outraged dames, the fury of a woman scorned is illustrated in happily carefree style.

All of this is fragile stuff, as has been noted, but Miss Bergman, as the lady in love, emerges as a most charming comedienne, a professional who can handle a gaily irreverent line of dialogue as easily as a dramatic declamation.  Mr. Grant, as the poseur who captures her heart and is hoist with his own petard, romps through his assignment as to the manner born.  He is the master of the lifted eyebrow and the mysterious smile, "tools" he uses with devastating effect.

Phyllis Calvert, as Miss Bergman's proper and protective sister, and Cecil Parker, as her Foreign Office brother-in-law, a gent who knows the score despite a cool, precisely British, exterior, contribute strong support to our entranced principals.  David Kossoff and Megs Jenkins add a few neat but unobtrusive touches to the proceedings as Miss Bergman's understanding servants.

To repeat, "Indiscreet" is as light, airy and weightless as a soufflé.  But all concerned have made it a most palatable concoction.

Click here to read Susanna's review of "Indiscreet"

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