Cheap Indiscreet (DVD) (Stanley Donen) Price

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Customer Reviews of Indiscreet

A very good and very charming romance comedy
If you want to see a light, funny, and witty, romance comedy, you've come to the right film. Bergman is at a beautiful, wiser, and charming 43 and Grant is as handsome as ever. He hardly ever changed did he? <
> The dialog is swift, clever, timeless, and delivered with ridiculous ease from a well picked cast. Even at the outset, the acting by Bergman and strong support by Phyllis Calvert is sublime and transparent. If you aren't smiling or charmed throughout this movie then check your pulse. Maybe 5 stars is a bit much here but I enjoyed this movie as much as any. It's not a movie that is supposed to make you think or profoundly affect you (unless you are an actor) but simply entertain you. And that it did!

Kind Sirs, Where Art Thou?
Fervent desire often overlaps into soft-porn territory in the cinematic language and carnal images of the aughties, to the extent that the old-fashioned romantic in some of us yearns for timeless gems such as "The Philadelphia Story," "Casablanca," "Charade" and "Indiscreet." These films, among others, remind us of courtship's necessity in modern times. This reviewer has nary a word against adult nudity on film -- that is, when it is handled artistically and sans embarrassment as in many European films. However, more offensive than today's shock stock are the inane romantic comedies of the early 21st century made by directors/auteurs who believe that casting attractive actors precludes translating their fertile imaginations to plausible, well-plotted scripts. <
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>While admittedly not a perfect film, Stanley Donen's "Indiscreet" (1958), starring Cary Grant and Ingrid Bergman, realistically captures the first blush of courtship between two middle-aged adults -- one prudent and the other deceptive -- and charts their reluctant romance. Sure, the camera loves Grant and Bergman, but it is their fine acting combined with clever dialogue that sculpts "Indiscreet" into a classic. <
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>In too many scenes to count in "Indiscreet," Philip Adams (Grant) and Anna Kalman (Bergman) stare longingly into each other's eyes with a searing intensity that surpasses mere consummation of a love affair. For example, in the breakfast nook scene at Anna's London apartment, Philip allows his meal to grow cold while watching Anna prepare hers at the stove. ("It's servants' day off" was her seductive phone invite earlier that morning.) From his dining chair, he practically burns a hole through his paramour's apron. One of Bergman's best lines is spoken at the table: "Stop. Good manners spoil good food," she quips. Once seated, she too finds it nearly impossible to eat because her suitor is drinking in her gaze. More than once they sip their tea, pause to stare at each other, then resume sipping. <
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>Where are the subtle expressions of courtship -- the furtive glances, tender kisses and sexual innuendos -- between a mature man and a mature woman? Unfolding on screen in "Indiscreet," for certain. How memorable are the nighttime tableaux detailing the first date between the vulnerable London-based stage actress and the arrogant American diplomat! After overindulging in champagne at a private club where Anna's brother-in-law, Alfred, is a member, they arrive too late to attend a ballet performance of Romeo and Juliet and decide to give Anna's tickets to two teens. Here is where Grant delivers one of the most understated lines in the movie: "I know how the story ends -- sad." (That comment, not simply a reference to the Shakespearean drama, could have been meant as a social statement about conservative adults' opposition to young love in 1950s America -- i.e. the waltz vs. rock 'n roll.) Rather than have the evening end on a failed note, Anna and Philip return to the club for more libation and laughter topped off by a late-night stroll past London monuments, while Anna's chauffeur and a few of her fans trail them. <
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>The final scene of Anna and Philip's first night of courtship exemplifies how erotic fire is handled subtly in "Indiscreet." (Of course, there is enough sexual tension in the violins alone.) The pair share banter about a nightcap before disappearing into Anna's apartment and shutting the door. When the camera zooms out from the shot of that closed door, the visual effect and erotic impact are more telling than a "Do Not Disturb" sign hanging on the doorknob outside a honeymoon suite. <
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>By stark contrast, many "R"-rated flicks today are nothing but prurient lessons in heavy-handed debauchery. Gone are the ethereal gazes, graceful kisses and balletic gestures of yesteryear. Unlike the light dalliance observed in "Indiscreet," even today's so called "PG-13" flicks opt for overt, gratuitous scenes of lingerie shedding and naughty/scatological word lashing that have no transcendent significance. Even the Bertolucci films "Last Tango in Paris" and "The Sheltering Sky" treat scenes with nudity and sex as moving sculptures and paintings, and reserve curse words for existential statements. <
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>While I do not seek metaphysical meaning in "Indiscreet" and other films of like ilk, I do expect a great romance and a gorgeous film score. Who knows? The Bard himself might approve -- the absence of ill-fated lovers notwithstanding.