Very very predictable, including the post credit scene !!!

Sorry, this movie sucks

This movie feels like it was made purely to piss off people who want good shows

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

This is an absolutely delightful romantic comedy. Like many others, I am amazed that I never heard of it before a few days ago, when it appeared on TCM. I recorded it (love that DVR) and watched it yesterday.I agree with others who say that the acting of the two leads, Ford and Page was excellent. So too was that of the supporting characters Lansbury and Nichols. But the many fine small touches stand out too. I loved seeing the old Penn Station in New York, long since destroyed. I loved the look of the girlfriend of Ford's "son", with the hair style, clothes, and big glasses. That brings back some high school memories. The many fine little one-liner or throw-away jokes, such as "nice wig" or Ford: "I have a psychic thing;" Nichols: "I don't want to see it." But even beyond that, I was amazed by the portrayal of the society and customs of 1963 New York. Shades of Mad Men! No, there were no Madison Avenue Ad executives, but the banter and casual sex displayed was an eye opener. I thought that all happened ten years later? Even the look and feel of Ford's character was remarkably like Don Draper. I seriously wonder if this movie was not an inspiration for Matthew Weiner when he created Mad Men.

Hollywood created some nice romantic dramas and comedies in the 1960s, and sometimes the movies were backed by beautiful Henry Mancini scores. There was the Apartment (1960), Breakfast at Tiffany's (1961), Charade (1963), and Dear Heart (1964). Mancini had hits on the charts with the last three of these. Dear Heart is a pleasant romantic comedy about two mature loners who meet and fall in love. Staying at the same hotel are Evie Jackson (Geradine Page) – in town from Ohio for a Postmasters Convention – and Harry Mork (Glenn Ford), greeting card salesman just recently promoted to marketing executive. Both are amiable and easygoing. Evie, who indeed does have a good heart, is a bit wacky on the outside and despondent inside. She is so lonely that she leaves messages for herself in hotels and train stations. Harry, from Pennsylvania, has had many relationships without meaning. Engaged to be married within the month, he is happy to be settling down finally – to the widowed and worldly Phyllis (Angela Lansbury), whose appearance is fairly late in the movie. Phyllis' zany son is Patrick (Michael Anderson Jr.), a bearded beatnik (who would be considered a hippie just a few years later). Anyway, Harry and Evie's relationship begins to take off when they share a luncheon table at the hotel's restaurant. They do not seem to have much in common, but then … there is no need to go into further detail. But one may have a complaint: why does Harry continue to insist that he is married when he is not? Is he afraid of ruining his relationship with Phyllis? His insistence even comes at the point when he must suspect that he and Evie are right for each other. There is great supporting cast spearheaded by such endearing folks as Barbara Nichols and Richard Deacon. These characters – and the main ones – are well-developed. A special treat is the previously mentioned title song by Henry Mancini (also popularized by Andy Williams); Mancini would receive an Oscar nomination in 1965. In all, the film is pleasant and enjoyable.

88/100. An exceptional, and I feel a very underrated film with Geraldine Page giving an outstanding and unforgettable performance. She gives the character of Evie so many personal nuances and touches. She really is amazing. Angela Lansbury is also incredible in a supporting role, and nails the character with confidence and style. A lot of the smaller characters are television staples, Richard Deacon, Hal Smith, Ruth McDevitt and Alice Pearce. Barbara Nichols gives a very memorable and funny performance as the woman at the concessions counter.It is a wonderfully simple and uncomplicated story. Delbert Mann does a superb job with his subtle direction. Very well written with deeply developed characters you care about. Glenn Ford is quite good in a warm and subtle performance. A very special gem of a film.

Busy, theatrical sentiment with Geraldine Page memorably neurotic as a lonely spinster who sends herself messages and has her own name paged in hotels...just to feel thought of; Glenn Ford is the family man whom she falls in love with. Stagy piece from writer Tad Mosel has a central character not too far from one of Tennessee Williams' heroines, and Page brings the part to life with a vivid portrayal. Henry Mancini's score sparkles and the black-and-white cinematography is good, but Ford walks through his part (he fills the bill and nothing more) and Michael Anderson, Jr. is way over-the-top as Ford's beatnik son (an embarrassing role for any actor). Smart talk, a few strong scenes, and Page's touching, annoying, amusing performance nearly makes this sudser worth seeing. ** from ****