Vor Hausfreunden wird gewarnt

There is a glittering cast (Cary Grant, Deborah Kerr, Robert Mitchum and Jean Simmons), a witty script and beautiful scenes of the English countryside in superb colour. So why is this film so flat? Whether it is a movie, a play or a novel one has to believe in the characters. Unfortunately Cary Grant is not believable as an English lord. Deborah Kerr is not believable as an unfaithful wife. Robert Mitchum is believable as an American tourist but , seemed uncomfortable in the role. When he walked into the private apartments of Lord and Lady Ryall in their Stately home he looked as if he should have been walking into a Chicago speakeasy. Only Jean Simmons seemed to fit her part. It was a funny script which was wasted. Still, anything with Cary Grant in it is worth watching. See what you think.

This delightful film's script is a descendant of the sort of archly witty portrayals of British upper-class life that came from the pens of Somerset Maugham and Noel Coward (one of whose songs serves as musical lead-in, and at least one of whose tunes ["Mad About the Boy" - listen for it] serves as background music to comment on the action). The atmosphere of this sort of comedy may be a bit foreign to American tastes (the whole topic of infidelity is discussed in such a civilized and gentlemanly fashion among the parties- Stiff Upper Lip and all that - where Americans would be screaming at each other and going for weaponry) but as a devotee of British drama I enjoyed the movie hugely. It's a stellar cast - everyone shines, right down to Moray Watson in the small but delicious part of the befuddled butler Sellers. Jean Simmons is especially enjoyable in her out-of-character portrayal as the outspokenly vampish Hattie. Despite opinions below to the contrary, the incomparable Cary Grant fills the part of this down-at-the-heels English Lord like old brandy fills a crystal decanter. The sumptuous setting of the baronial manor and the high production values make the film beautiful to look at, to boot. (The fact that the unfortunate Lord is forced to open his manor to paying visitors to support his lifestyle is based on the historical truth of the confiscatory tax policies imposed on the British hereditary gentry by post-WWII Labor governments; everyone is entitled to their own opinions on these policies, but be assured the film makes no political comment).

It does stretch the imagination a tad that Victor could treat the whole issue of his wife's infidelity - going on right in front of his nose - in such a dispassionate manner, but that is a characteristic of this genre. Further, Grant manages to convince us that, beneath his outer imperturability, his wife's disloyalty has pained him deeply and he could not stand to lose her.

This is a not-well-known film, and its appeal might be a bit specialized, but I think it's a minor gem. And I could not omit mentioning the charming opening credits with their bevy of delightfully cavorting babies.

This is one of the films Stanley Donen directed during his long sojourn in England. His previous one with Cary Grant, "Indiscreet," also starred Ingrid Bergman, and the two of them repeated their impeccable chemistry from "Notorious" ten years earlier in a very romantic and yet sophisticated comedy. "The Grass Is Greener" is, if anything, more sophisticated, almost stultifyingly so. It's obviously based on a stage play, fitted out with a handful of cinematic tricks that stick out like sore thumbs.

This cast could do no wrong, as far as I'm concerned, and they just about manage to make it work. Robert Mitchum is probably miscast, but he doesn't let it show, and his scenes with Deborah Kerr (the two of them made many films together and enjoyed one another's company) work beautifully. Cary Grant is impeccable, as always, although I can't help thinking that this really is Rex Harrison territory. And Jean Simmons is delightful - she really is a fairly underrated actress. Moray Watson also shines as the butler.

One question: why didn't the doctor every show up? (You have to watch the movie to the end to find out what I mean.)

Some had mentioned Noel Coward and the drawing room comedy. I think it should be mentioned that the entire score was completely based on the songs of Noel Coward. I feel the film was an homage to Coward and his light plays of the 20's and 30's. Actually, if you know Coward's music, it forecasts things in the plot.For example at the beginning of the film when Grant and Kerr are having their first conversation, she reads a poem, and the music being played is "I'll Follow My Secret Heart." It is not too long after this she meets the third person in the triangle.

I think it's quite an enjoyable movie, and it is nice to see people enjoy performing light banter.

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