Romancefest 3: Sadiefest - Indiscreet

I've been looking forward to seeing INDISCREET thanks to the film's two stars -- Cary Grant and Ingrid Bergman. I've seen and loved them in many other films, both together and apart, so it's always fun to see a new one for the first time.

For the first hour or so, INDISCREET unfolds as a melodramatic love affair between Bergman, who plays an improbably single and famous middle-aged stage actress, and Grant, who plays a married economist for NATO. The two meet and fall in love in London, where Bergman lives, and soon Grant is traveling back and forth from his work in Paris to his "other woman" in London.

I have to admit -- despite the star power, this first half bored me a little bit. It didn't seem to be the comedy that it was advertised as. But, this is the rare film that really does kick into high gear for the last half and really doesn't get to the point until late in the running time. Stop reading if you don't want to know, but there's a twist. I won't say what it is, but it turns out Grant has a secret, and when that secret comes out, the whole movie clicks together. Seemingly worthless supporting characters jump to life, the screenplay starts to crackle, a fire ignites in Bergman's eyes, Grant starts to crack and the afore mentioned comedy comes out of hiding.

Aside from some bold Technicolor highlights and some nice London sights, the movie is visually bland. There is, however, one interestingly shot exception -- a sequence early on in which a split-screen phone call between Grant and Bergman is arranged specifically to create the illusion that they're lying in bed together. Their hands seem to touch, they look into each other's eyes, they spoon comfortably for a while -- all while staying on the right side of the Hays Code thanks to a strategically placed split screen. This is a good example of how creative filmmakers can create compositions that ring emotionally true even when they're literally false.

It was fun to see Bergman both in color and in her 40s -- she looked no less radiant than she did in her younger days, but it was a little unreal. It's strange how color should be the more "realistic" medium, in theory -- after all, we all see our own lives in color. Still, I'm so used to seeing Bergman in black and white, that her color image in this film seemed almost surreal and dreamlike.

The afore mentioned supporting cast, after having nothing to do for the first half of the film, come to life in the second half. Phyllis Calvert and Cecil Parker have some good lines as Bergman's incredulous sister and brother-in-law, and David Kossoff and Megs Jenkins have some memorable moments as Bergman's servants.

Speaking of servants, it's interesting to note a theme that permeates throughout most of the film: as private as a love affair is, it must be conducted publicly. There are constant intrusions involving telephone operators, elevator operators, the man at the front desk and fans asking for autographs. Bergman and Grant can't even enjoy a romantic stroll without the chauffeur following their every move. On one hand this is a series of intrusions brought upon the couple by their own place in society. On the other, their courtship and romance seems to need these constant third wheels in order to survive.

It's also worth mentioning that as flawed as the first half of the film is, it does nail some quiet truths about evolving relationships as Grant and Bergman first come together somewhat awkwardly, and then eventually enjoy full intimacy. In fact, perhaps Grant's insecurities in the last act of the film wouldn't be as affective without this build up. Maybe the film is winning me over more as I write this.

One quick nitpick -- this is no fault of the film itself, but the disc I got from Netflix left a lot to be desired. The film was presented in non-anamorphic widescreen and the print used for the transfer had a lot of wear and tear on it. On top of this, the audio was tinny and squawky. I assume there must be other superior additions of this disc out there, but if there aren't, then INDISCREET would be a great candidate for some kind of restoration -- the fact that it stars Bergman and Grant should be enough to make this happen. Both the Technicolor and the musical score would benefit greatly if someone who cared got their hands on the film.

Sadie Says:

INDISCREET was the second film to star Grant and Bergman, almost 12 years after Alfred Hitchcock's NOTORIOUS. The films are completely different for many many reasons, but was is quite apparent, is the the onscreen chemistry that these two had.

Like Paul, I was intrigued by the split screen shot, reminiscent of PILLOW TALK released a year later, but clearly got way more recognition. It's my favorite followed by the shot of Bergman against a full wall of paintings as Grant leaves her apartment for the first time. The colors are exquisite, as are the numerous gowns this fine femme rocks throughout the entire film.

INDISCREET is not a perfect film by any means, but one that I think gives both Grant and Bergman an avenue to rock out in their middle age. Carey Grant does an incredible job of playing Carey Grant, and I love Bergman's performance of a highly successful woman who struggles with being independent and intimidating to her male counterparts. I think the theme of the strong female lead is starting to reveal itself with each new film.

Paul, who do we talk to about restoration? Let's get on it!