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Must See Movie...

Best movie ever!

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

it is one of films who remains in memory for the different manner of actors to build their characters. for the beauty of few scenes. for the tension who are just puzzle of nuances. a film about love as sense of life. it preserves the spirit of Sagan's novel. and transforms the pages not exactly in images but in a special flavor of spring and autumn's leaves. Ingrid Bergman is herself and gives to her character admirable precision. Anthony Perkins seems discover his character step by step and that does him a kind of comrade of viewer. Yves Montand is the ordinary man looking for easy form of happiness. the result - a touching film who remains as useful tool for rediscover the rhythm and the sensitivity of a lost period.

Paula Tessier (Ingrid Bergman) is a 40 year old successful decorator in Paris. She is dating Roger Demarest (Yves Montand) but he's not willing to get married again. He's got a wandering eye. She insists that she doesn't want to try marriage again either but that's a white lie. Philip Van der Besh (Anthony Perkins) is a 25 year old carefree lawyer. His mother hires Paula to redecorate her lavish apartment. The young man flirts and flirts until Paula relents and they start dating.It's very odd to have this as Anthony Perkins' next movie after Psycho. I keep wondering if he's got a crazy interior monologue going. It's also hard to see any good chemistry between Perkins and Bergman. It would make more sense if this movie turns dark and Perkins becomes a creepy stalker. He's playing it so immaturely and weirdly. It's not really youthful exuberance. His flirting is actually quite scary. He's more like either desperately pretending to be childish or Bergman's most obsessive fan. Also it's Psycho. I just can't get that out of my mind.

This is an excellent movie well worth viewing. As the film opens, you hear the Brahms theme and it triggers memories of the 1946 film "Undercurrent" starring Katherine Hepburn and Robert Taylor. I hoped the film would equal it in quality. It does. Well written, beautifully shot in France, and well acted, it clicks on all cylinders. Surprising for me (and maybe it should not have been) was Ms Bergman, 20 years after "Casablanca," looking as gorgeous as she did 20 years prior and demonstrating the acting separation that distinguished her from the mere pretty-faced Grable, Turner, and Gardner. I may be late to the dance, but I am now convinced as an actress she stands on the front line with Hepburn and Davis. She can really bring it.For some strange reason, many have unfairly criticized Tony Perkins in his role as the young infatuated lover, often referencing his then recent (and to be definitive) role in "Psycho". This is nonsense. Perkins was an actor of great breath, which included the New York dramatic and musical stage. Check him out in Stephen Sondheim's 1966 Stage 67 TV special "Evening Primrose." You wouldn't get cast to premiere Sondheim material in 1966 if you didn't have your sh*t together. Perkin's character in "Goodbye Again" does demonstrate some quirky love-driven behavior (like stalking), but its reflective of the adolescent character he is playing and has NOTHING to do with his performance in "Psycho." Who knows, the script writer could have in fact added some of this quirkiness expressly to play off of his recent Psycho role. Remember, Perkins didn't write the script, he merely acts it out well.Also of note is the a brief cameo role played by Diahann Carroll as a Paris jazz club chanteuse (jazz aficionados will recognize American jazz expatriates Kenny Clarke on drums and Eli 'Lucky' Thompson on tenor sax, both major modern jazz associates of Gillespie and Parker in New York in the 1940's and 1950's). Carroll was in Paris in 1961 for this movie and her next released the same year, "Paris Blues." These two roles were seen by Broadway composer Richard Rodgers and it influenced him to write his next Broadway musical, "No Strings" (opened in NYC March 1962) expressly for Ms Carroll. Coincidentally, the musical was about love in Paris. Both Ms Carroll and Mr. Rodgers won Tony awards for this musical.This is an excellent love story without the usual forced, corny Hollywood happy ending. Bergman is so appealing in this film that you wonder how Yves Montand could be sleeping around with other women. But when you see the willing, delectable young women he sleeps with, you can understand if not excuse his behavior. Love is always complex.

Well, in 1961, it had to be. It had to be the outcome (sadly) that Paula cannot enjoy Phillip and instead looks in the mirror, applies cold cream, and settles in for yet another evening of rejection and alienation as perpetuated by her faithless husband Roger. Well portrayed by Yves Montand, the trite and true comment "they mean nothing to me", as he cavorts with yet another substance less mistress.The tables are turned when a very young Tony Perkins(Phillip) appears on the scene and falls for Bergman. He is sympathetic in that he is searching for a deeper relationship, tired of young frivolous girls, and wants something he ultimately cannot have.Some of the scenes where he is elated, driving through Paris and reveling in the new affair are cinematic and affecting. Also there is a nice scene with a young and gorgeous Diahann Carroll, a lounge singer, singing the blues, telling Perkins life will go on..., love is just a word.This is a wonderful, forgotten film of cinema verity, at first I had assumed this was the comedic film fluff Bergman had filmed with Cary Grant, a forgettable romantic comedy. No,this film is the opposite, an affecting and relevant drama. Today perhaps the story would end on a positive note for the woman rather than her staying in a dead marriage with a faithless boor. 9/10.