I like Black Panther, but I didn't like this movie.

Did you people see the same film I saw?

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

An aristocratic British couple (Cary Grant, Deborah Kerr) allow tourists to visit their castle because of financial difficulties. On one of these tourist trips, an American millionaire (Robert Mitchum) puts the moves on Kerr and she wastes no time falling for him. Grant doesn't discourage her affair, instead trying to come up with a way to win her back. How pathetic.A dry, dull, stagy film with unlikable characters played by likable actors. Five or ten years later it might have been more risqué but this is all very sedate and mannered. There's no fun to be had here unless you're someone who likes these sorts of tired old movies where screwing around on each other is seen as a harmless and natural part of marriage. Dated plot aside, the characters are a mess. Mitchum's character is an obnoxious bundle of clichés. Jean Simmons is not part of a love triangle or quadrangle, as some plot synposes online tend to say (as well as the misleading DVD cover). She's just an ex of Grant's who is only in the film to be a pot stirrer. Kerr tries harder than anybody else to make this thing work, which just makes her character all the more insufferable. Cary Grant is badly miscast and dresses like Mister Rogers in this. I wasn't surprised to find out Cary didn't want to do this movie. He turned it down initially and then Rex Harrison was cast. But when Harrison had to withdraw at the last minute, Cary stepped in to help out. It's a part that is a better fit for Rex Harrison. Cary may have been born in England but he was never suited to playing these stereotypical "stuffy Brit" roles. Also, despite his age at the time, it's a hard sell to believe him the kind of man women would throw over for Robert Mitchum (no spring chicken himself by this point). I like Mitchum as much as the next person, but no...just no. To date, I believe this is the lowest rating I've ever given a Cary Grant movie. He's one of my favorite movie stars so it takes a lot for me to hate a movie he's in. But this is one that I don't see myself ever watching again.

I love this film and recently bought it on DVD. I had not watched it for many years, and it's wonderful to see it again. Since I last saw it I've visited Osterley Park in Middlesex - it's on the Piccadilly Line and easy to get to, and I was fascinated to see the changes that have taken place there since this film was made. Apart from the filming locations, which are excellent, the action is well worth seeing again. This is a comedy of manners, worthy of Noel Coward or similar authors, which challenges our assumptions about how people might behave. It's supposed to be the upper classes behaving in a civilised manner, but that is rather difficult to believe. You have to suspend disbelief and go along with the premise that people could behave like this. All the performances are excellent and it works, even in 2014. I wonder what people thought in 1960? My interpretation is that the Earl (Cary Grant) is hurt that his wife appears to have chosen to be unfaithful to him on a whim, and he has to decide what to do. He decides to be civilised, but he plays a very clever game to get her back and it works. Beneath all the civilised talk there is a very primal contest going on, and the emotional blackmail works. The bond is too strong to break, but he had to fight for her or face losing her. The desperation of his position is not obvious, but it is there nonetheless.I'm not sure that Robert Mitchum was right for this - he was the least convincing, but the other 4 main players were completely right. How anyone could consider leaving Cary Grant in the first place is beyond me.

It's very appropriate that the song heard over the post-credit and pre-final credit sequence were written by none other than Noel Coward, England's 20th century gift to the theatre. In most of his plays, the sexual exploits of England's upper crust were spoofed and gently ridiculed. Here, four very well mannered people (three British, one American) misbehave while being oh, so dignified and show that you can resolve marital strife and infidelity without tantrums, fisticuffs or a slapfest between two women. What you need is a duel.The four people are Cary Grant, Deborah Kerr, Robert Mitchum and Jean Simmons, and they are all totally different, if still attractive mature adults. Grant and Kerr are a long married couple who live in one of the many country estates that tourists trample through while on vacation in Europe. One of those tourists is American millionaire Mitchum who accidentally opens a door on Deborah Kerr in one of the private rooms and opens a can of worms. They briefly spar, but it is very apparent that the very bored Kerr has taken a fancy to the suave American. Before you can say "Pip Pip, Cherrio", Kerr has escaped to London for a rendezvous, and Kerr's acerbic friend (Simmons) pays a visit on Grant to help him pick up the pieces and reminisce about their old affair. Soon, the foursome are spending an oh, so civilized weekend at the estate where chaos is sure to ensue.All four stars are excellent, extremely likable, and hysterically funny. A very intelligent screenplay provides plenty of innuendo and moments for each of the stars to shine. Even funnier is the way the screenplay expresses the character's thoughts while another character in a different setting is either expressing the same thought or the exact opposite. Simmons, usually more gentile in such films as "Hamlet", "So Long at the Fair" and "Guys and Dolls", is delightfully flirtatious, while Grant is wonderfully droll while insulting Mitchum by singing "Yankee Doodle" (you know the version with a feather being called macaroni). Kerr, always the lady, gets to be a bit more naughty here than normal, and Mitchum is fun as the sole non-Brit who didn't come to London riding on a pony. It should be also noted that Simmons looks incredibly sexy in her negligee. You get the feeling that once everything is wrapped up that the foursome might become bi-continental visitors and get a lesson in American customs from the very suave Mitchum.

The Grass Is Greener is directed by Stanley Donen and stars Cary Grant, Robert Mitchum, Deborah Kerr & Jean Simmons. It's adapted by Hugh Williams & Margaret Vyner from the play of the same name which they had both written and found success with in London's West End. Music is by Noel Coward and Christopher Challis is the cinematographer.Struggling financially, the Earl & Countess of Rhyall (Grant & Kerr) start giving tours around their stately mansion. Enter Charles Delacro (Mitchum) & Hattie Durant (Simmons), whose appearance at the mansion sets in motion the wheels of love, jealousy and machismo fuelled duelling.Considered too talky on its release, The Grass Is Greener, it's fair to say, is more for those who are either into the star wattage on offer, or for those who are romantics at heart. Upon first viewing the film doesn't appear to have much in the way of comedy, in fact when Grant is either off screen or out of ear shot there's a hole as big as the implausibility factor in the plot. However, further viewings (well listenings really) reveal a sharper script than the one critics gave credit for back in the day. There's plenty of "nudge nudge" winkery going on, while the portrayals of the rich American & British characters (could they get any more polar opposite than Grant & Mitchum?) has a nice glint in the eye to them.On the cast front, Grant is as smooth and classy as he always is, with his sometimes undervalued comedy timing here in full force. Kerr & Simmons look attractive, with the latter benefiting greatly from some outrageously punky Dior costumes. While Mitchum, tho no master of comedy, works his laconic low tone charm to great effect off of Grant's well spoken aristo verbality. However, look away from the big four heading the cast and you find much comedy value in Moray Watson as the Butler. He, along with Challis' photography inside of the house, are arguably the stars of the show. A fine film for the patient to enjoy, even if it's not the masterpiece that its cast list suggests it should be. 7/10