Admirable film.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

It’s sentimental, ridiculously long and only occasionally funny

"... and they lived happily ever after." Those kinds of love stories are usually found only in storybooks, while many more memorable ones are of the tear-jerker variety. What makes this one stand out is the subtlety, sensitivity, and absence of high drama, yet every bit of the movie tucks at your heart-strings."Interlude", what an apt title. The beginning sequence of two drivers, their knowing glances, the haunting lyrics sung by Timi Yuro, presented a perfect lead-in to a nostalgic flashback of an extra-marital liaison for the protagonists, (or at least for one of them). In hindsight, it might have been inconsequential - the marriage was not destroyed. In fact, both of them are now apparently leading reasonably happy married lives. Yet there is a very tangible sense of loss, (of love, of innocence), a wistfulness. Does one ever completely recover from affairs of the heart that had gone awry? There is this unforgettable exchange at the end of the movie: (Stefan)"...you know there are, still quite often in the mornings, when I, wake up and expect to see you...", (Sally, looking up, tears gleaming in her eyes)"I have the lamp in my house now..."Oskar Werner was the perfect embodiment of a suave, sensitive, egotistical, successful, but lonely, conductor. His understated portrayal should not be mistaken for what some might label a "woody" performance. On the contrary, he oozed class, sophistication, and a certain cynical worldliness, which belied his basic decency and loneliness. Yes, he had fame and wealth, a beautiful and dutiful wife, and family, but he was not happy. He felt trapped and burdened, emotionally wanting, which was why a fresh, young pretty face became a welcome distraction in the first place. Besides, even as a man, his almost "boyish" charm came across loud and clear, and one can easily see how a naive young girl falling for him. The entire "interlude" was very credible, even natural. Remember, it was not at all a love at first sight, and one gets to savour the unfolding of the romance.I thought Barbara Ferris was quite wonderful in this movie, (and I can understand why one of the reviewers wrote that he had a crush on her). I appreciate the contrast between the more matured, polished, Sally and her youthful, carefree, and vulnerable characterization when she first met Stefan. The initial "courtship" scene was delectable, mousy Sally fluttering around the apartment, then clumsily serving tea; and finally the ingénue succumbed to the charms of the older and more sophisticated Stefan. The image of her in that puffed-sleeve dress is infinitely more attractive than any of those outlandishly "alluring" wardrobes of today, (or any day). Wondered why she wasn't in more movies. I think it is not quite fair that many reviewers said hers was a weak performance. I thought her portrayal of the awkwardness, and naïveté (as long as she had not seen Stefan's wife, she could "deceive" herself into believing that she was not real, and assuage her own guilt) was spot-on, providing a contrast to Oskar Werner's character. Someone even suggested that Julie Christie might have been a better choice, but to me, Julie Christie would possibly come off too sophisticated in the role.Virginia Maskell played the role of the dutiful and well-bred wife so well with relatively little screen time.This was one of the few movies that made me go back for a second viewing in the cinema when it came out. I have always wanted to revisit it all these years, having missed it once on late night TV. It was only yesterday that I found it by chance on YouTube, and it was still as fresh and affecting as I remembered it. The music score and Timi Yuro's title song were a perfect complement to the motion picture. This time around, I even picked up on the quotation from John Donne, and the Adagio from Tomaso Albinoni (which I have grown very fond of, but hadn't realized was included in this movie).P.S. I just found out a remastered copy is now available on Amazon!P.P.S. This was on ThisTV the beginning of 2014.P.P.P.S. I think there is a general release DVD from Columbia Pictures now, saw a copy of the DVD in a local public library collection in 2017.

I saw this film for the first time a week ago and was mesmerised by the charm of the characters and the atmosphere created by the superb classical background music. It is the most sophisticated love story I could ever recall seeing in more than 30 years of watching movies. The location filming around London was very impressive.But the most incredible memory from this film is the brilliant acting of Virginia Maskell as the spurned wife. The dignified pain in her eyes at the end was haunting (I understand that she had tragic personal problems at the time, but still her performance was worthy of recognition). The acting of Oskar Werner and Barbara Ferris was also outstanding and very realistic. The film was directed and photographed beautifully - altogether a superb visual experience.

Such a lovely, passionate film and the music! Who can't visualize for their own lives falling in love with Oskar Werner after seeing INTERLUDE. This film absolutely reflects its time and attitudes: the mixture of elation and regret in an affair; the clothes everyone wore--the women so trendy with their short shifts and floppy newsboy caps and the men with the stovepipe trouser legs; the fabulous Rolls Royce. Love it! And did I mention the classical music! So superb with each recording being the definitive take with which I still compare all others. Scene after scene flits through my memory. Is it possible that the director was greatly influenced by the French and Italian films contemporary to INTERLUDE? I've always had that feeling re the scene of Stefan sitting with his wife on the garden bench, and the scene where he comes home late and turns on the stereo and goes outside to think with the music flowing over that expanse of English countryside. Wow! And the final scene where he tries to convince his love not to leave him; the emphasis Oskar places on some phrases-so natural, emotion-packed and so believable. And was there ever a better film music conductor? When you work at a studio, seeing the stars becomes commonplace. However, I made sure my path crossed Oskar's when he was on the Universal Studios lot back in the 70's making a COLUMBO, of all things. Hoping not to gush and embarrass him, I told him how much his work was appreciated, especially INTERLUDE. He was gracious but wary as he thanked me in that wonderful voice and went on his way to his dressing room. There was no one like him then and won't be. He was unique and the only actor I approached in such a manner and the only one I still miss. INTERLUDE is just an altogether wonderful film. Please, please, someone put it out on DVD. You'll make a mint!

I watched the movie Interlude several years ago and have often wondered why it has never become available on video or DVD. It is one of the better versions of the movie which is also called Intermezzo with Ingrid Bergman and later version with June Allyson. This version with Oskar Werner is very good and hopefully sometime it will be available. I have an LP of the original soundtrack and have played it so much it is nearly bald. Timi Yuro does a great job of singing the title tune and there are several other versions of the title song done instrumentally. Also, some nice pieces of classical music from the movie are included. I have enjoyed many of Oskar Werner's movies, and this one is so romantic, it is a shame more people cannot enjoy this very good film.