User reviews

I recently watched this movie and then read the comments on IMDb.com which are without exception very enthusiastic. Did I miss something? Am I a dork without any real feeling left in me? Others will be the judges of that. Anyway, I felt this movie tells a very commonplace story of mediocre minds for which I found it hard to have much compassion.

The conductor is basically an egomaniac, a man of whom all around him think as a genius (by the way: aren't all orchestra conductors fascists at heart??). Not a very pleasant or entertaining fellow to be with, really. The blond damsel is a cute groupie, overwhelmed by the adulation the genius basks in - and the splendid Rolls he commands through the streets of London and the English countryside. The "love" they experience is without motive, without past and certainly without future – yes, one may argue, that this is the essence of love, but it makes rather boring viewing if you can't identify with the characters. The affair is concealed from the conductor's wife, which I can only see as a strategic move beyond immediately felt surges of emotions. It may be argued, that nobody wants to hurt anybody, but the act of betrayal lingers on and for me spoils the moments of intimacy between the lovers which are played out as an animated fashion magazine.

Not too long ago I also watched the "Interlude" directed by Douglas Sirk and released in 1957. I found it far more convincing and a truly moving melodrama, although the storyline is almost identical. It is a movie that works much better for me on the emotional level. The reason for that is, I believe, that the need for love can be felt more strongly. And there is an element that should always be present in a true love story: Surprise (at the world, the turn of events - and at oneself).

Stefan (Osker Werner) is a world famous conductor. When he meets a lady reporter, sparks fly and they begin an affair. As for the reporter, she knows he's married and has a daughter and you can't help but wonder why she wants this guy.

Accoring to IMDB, "Interlude" (1968) is a remake of "When Tomorrow Comes" (1939) and "Interlude" (1957). However, they really do NOT have the same plots. While the 1939 and 1957 plots are essentially reworkings of "Jane Eyre" where a man has an affair as well as an insane wife he's been tricked into marrying. But in the 1968 film, there's no insane wife and the husband is simply a bad man who decides to have an affair. This makes the '68 film anything but a romance...and it's tough to love the characters...or even like them or care about their affair. I know some people can look past this and enjoy films like "The Bridges of Madison County" and "Brief Affair", but the selfishness of the lovers turned me off and I just didn't care much for this slickly made film. The music, at least, was very nice.

The haunting strains of Georges Delerue's delicate score and Oskar Werner's bedroom eyes from the bittersweet and long-unseen 1968 romance, "Interlude," have lingered in memory for decades. The beautiful music and Timi Yuro's rendition of the title song stand the test of time; whether enhancing the film's London images, well shot by Gerry Fisher, or heard on the soundtrack album, Delerue's score ranks among his best and is undeniably the movie's strongest asset. Unfortunately, the third retelling of an illicit romance between an orchestra conductor and a young reporter is dated at best, and the casting does not help credibility.

Although Oskar Werner retains his dreamy looks and sexy accent, which were better showcased in "Ship of Fools," his Stefan Zelter is a vain, self-absorbed chauvinist and not particularly sympathetic. How a man of his intellectual depth could betray the elegantly beautiful Virginia Maskell is hard to fathom. Maskell, in an understated award-winning performance as Stefan's wife, has such an aura of grace and class that his betrayal stamps him as a common cad; especially so because the object of Stefan's affections is a young blonde with a penchant for 1960's-style skirts and ratted hair piled atop her head. Sally, played by Barbara Ferris, is not a particularly interesting character. Stefan's attraction beyond the physical is inexplicable; he is a famous conductor, a man of the world, and the best she can conjure up is that she likes music. Although Sally is an adult and, with open eyes, enters into an affair with Stefan, fully aware of his wife and family situation, she begins the clichéd whining about his lack of time with her and about his ultimate intentions; those tired scenes have been played many times before and often better. Sally is shallow, and her emotional histrionics ring hollow; the glycerin tears glisten falsely on her cheeks. Kevin Billington's direction is lackluster; do all affairs begin with lunch? Do all lovers romp in the park to romantic music? Do all wives send their husbands away for weekends alone at the shore?

Throughout the film, a trio of unexpected delights pops up in the form of three young actors on the verge of illustrious careers. Donald Sutherland is Stefan's best friend, who is undergoing a divorce; John Cleese plays a nervous publicist and would-be mentor to Sally; and Derek Jacobi is an opinionated dinner guest. Beyond the glaring exception of Ferris, "Interlude's" cast is first rate and rises above Lee Langley and Hugh Leonard's predictable script, which was based on a 1957 Douglas Sirk film of the same title, which in turn was a remake of a 1939 Irene Dunne melodrama, "When Tomorrow Comes." Despite the flaws and predictability, however, "Interlude" is a diverting romantic trifle with a pair of engaging performances from Werner and Maskell and a brilliant score by Georges Delerue, which will send viewers in search of the soundtrack album before the final credits roll.

Globally respected as among the top actors in cinema history (but sadly split in audience between his German language and English language films), there are too few available in English to us who want them all! The Austrian Werner, I understand was among his own worst enemies due to his drinking and fights with producers and directors, and died a sad shell of himself rehearsing for a low budget live appearance on the continent.

But what he gave us! This film is not only NOT an exception, but maybe his finest performance in a film where he was the top star and in the most scenes [unlike his other great English language roles, Spy, and Ship, and F451 (where Julie has the big part)]. Certain critics found him wooden and "method-y" in this--what a crock. I am very much in the market for a copy of this--it NEVER plays in California, even on late night TV. The sound track, and the orchestral scenes are matchless. Your heart will stop a few times--can't spoil that for you! I hope I live long enough to have a copy! Notice the agreement among all these (above) IMDB comments??? It's because all is true. If I were to continue, the superlatives would be boring (and endless). & John Cleese as an unknown, presaging exactly what MPFC was about to bring the world--he basically ad libs his (bit) go-fer role, saying he and his mates have an idea for comedy satire movies!!! But Oskar Werner. I'll stop now.

Judging from the user reviews, this movie has many, many fans, who find it deeply affecting no matter how many times they see it. There definitely are things to enjoy about this film: the locations, the cinematography, the music (definitely the music, including the haunting original score), and most of the actors, who make good use of their often fleeting screen time and scant dialogue. I completely understand how a very young person with very simple, romantic notions of love would easily fall in love with "Interlude". Older people who have been around the block a time or two, however, might be much less likely to find it convincing. The trouble is that the story is so lacking in character development that the bond between the central couple makes no sense beyond physical infatuation. The "heroine", Sally, played by the excruciatingly cute Barbara Ferris, is a chirpy young reporter whose improbably clever ripostes and picture-perfect Swinging Sixties hair, makeup, mini-dresses, and trendy flat fail to compensate for the fact that she has all the depth of a refrigerator magnet. World-famous symphony conductor Stefan, played by Oskar Werner, looks great at the podium (especially when surrounded by dramatic black-and-white blowups of his photogenic face), dresses elegantly and drives a fabulous car, but we simply have to assume that he, too, is genuinely lovable. These assumptions require a hefty imaginative leap for anyone experienced in the complexities of life. And you will think to yourself what poor use was made of talents like Oskar Werner and Virginia Maskell (playing Stefan's wife) in this film, and how wonderful the two of them might have been in a mature love story. But hey, as I said there is much to enjoy, visually and musically, in "Interlude" -- so grab some popcorn and enjoy it on its own terms. And if you're no longer a teenager, don't bother with kleenex -- there may be tears aplenty in this movie, but your eyes will be dry.

Thanks to the timely intercession of a television man (John Cleese), journalist "Sally" (Barbara Ferris) is introduced to temperamental maestro "Zelter" (Oskar Werner) from whom she manages to to elicit a few too many home truths which she gets published. Embarrassed a little and encouraged by his agent to take a break whilst the dust (and litigation) settles, he returns to his stately home where his wife (Virginia Maskell) and young family enjoy a comfortable existence. What's clear from the start is that this man sees no real reason to keep it in his trousers, and so a repeat meeting with the impressionable young "Sally" sets off what becomes a rather dull and repetitive series of adventures for a man whose talents with the baton in his hand are second only to his determination to run roughshod over all the people he loves, or love him, with the one between his legs. Indeed, even his about to be divorced friend "Larry" (Donald Sutherland) warns him of the short-sightedness of his ways but this man cannot learn from his increasingly damaging peccadilloes. Meantime, "Sally"begins becomes torn between her new feelings for this man and those for his predecessor. Though there is some fine detail to the production, and the musical score that accompanies this effortlessly combines the original George Delerue music with some beautifully orchestrated Beethoven, Brahms and Dvorák, the rest of this is a rather sterile and impersonal tale of a man who has precious little likeable about him. I kept seeing David Hemmings where Werner stood and as the drama unfolded I felt more and more disinterested in the story or it's characters. Except, that is, for the poor wife whose befuddlement at his treatment of not just her but his doting brood was delicately and patiently presented by an on-form Maskell who brought some much needed dignity to the otherwise pretty seamy proceedings. I suppose it's a poignant character study of an impassioned man whose work took over his life and whose resultant addictions excused - in his mind - all the excesses and thoughtlessness of his behaviour, but when you don't care you don't care.

I first saw this movie in 1968 when I was 19 years old. It struck me then (as it still does) as a very poignant story. Interestingly, it somewhat paralleled events in my own life at the time. As a consequence I found myself taking on the movie as my own. I even went and bought the soundtrack which is just beautiful. The mix of excerpts of classical pieces along with Georges Delerue's score transports me every time I hear it. I also have a copy of the movie I made from a television presentation some years ago. Interestingly, it still holds up very well today. The contrasts in both character and personality among the three main players makes for some wonderful emotional moments that highlight this age-old situation.

Interlude is an amazing piece of work. Expertly cast and directed, with a fantastic central performance from the late Oskar Werner, it is undoubtedly an undiscovered masterpiece and one in which should be much better known than the multiplex crap which usually fills the cinema screen.

"Interlude" completely caught me off guard! Finding this film was a mistake, albeit a very happy mistake. I obtained a copy of this very rare film by sheer accident. I actually had requested a copy of the 1957 Hollywood version directed by melodrama maestro Douglas Sirk. But when this British version arrived I decided to give it a try and I was immediately sucked in by the sheer scope of its romance and truly phenomenal lead stars.

This 1960s version stars Barbara Ferris and Oskar Werner as tortured lovers who must cope with the looming presence of Werner's wife and two young children. Ferris, as the sweet and innocent newspaper reporter, and Werner, as a temperamental and famed conductor, exude an overwrought chemistry and truly make you want to see them together in light of his oblivious family.

Set to a moving theme that rivals that of the famous song from "Love Story", "Interlude" is a rare gem just waiting to be rediscovered. The direction is sensitive and romantic, yet provides moments of unabashed melodrama and scope. One of the movie's most climactic moments is choreographed to a classic piece that Werner is conducting. The ending honestly left me with a lump in my throat, just waiting for more. This is what a romantic drama is supposed to be about.

One of the most underrated movies I've ever seen. I saw it once on cable and when I saw it in the guide again, I set my alarm so I could get up in the middle of the night to tape it. I did not trust my timer for this one. Musical score is excellent. I have to agree with some of the other comments here on the acting. Moreover, the London setting circa the 60's gives it a very distinguished aura of nobility, romance, and culture.

This movie is very under-rated! The cast is outstanding, with Oskar Werner at his best; the love-story sweet and mellow; and the beautiful music and scenery complete the heart and soul of this sweet tear-jerker. The story of an affair between a pompous orchestra conductor and a naive reporter, it will lead you through the destruction of lives from true love that came too late. It will make you laugh and cry and, perhaps, leave with a soulful remembrance of a long-lost love. Once frequently shown, it seems to have disappeared--except in fans' memories, who now wait and hope it will be released on DVD, along with a soundtrack CD. Age of this film should not be a deterrent. This is definitely a must-see for anyone who loves a good love-story! This and other soundtracks may be purchased from ScreenArchives.com for $20.

This is a film that few people even know exists. That is very sad because, if you want romance, tears and passion, it's all wrapped up in this neat little package. The story is told as a flashback of times gone by when the illicit love of the two main characters burned bright. Oskar Werner is absolutely wonderful as the symphony conductor who captures the heart and soul of Barbara Ferris, playing a magazine reporter. He is perfect for the part, suave, temperamental and beautiful to look at. Barbara Ferris is less suited to her role. She is not very attractive, too thin, and does not seem the type that would attract this worldly and famous man. However, as the love affair hits its stride, you tend to overlook her shortcomings and get caught up in the heat of the liaison. The stunning Virginia Maskell as the understanding wife is perfectly cast; unfortunately she died at an early age and we can only wonder how brightly her star would have shone. You will be swept away by the atmosphere of pure romance in this film. It is simply passionate! Trying to find it on tape is another matter. Search for it.....it's worth it!

the love story is a very realistic scenario and can be translated to any one's viewer character and it's basically, time independent. while times change in our lives, various nature of this story repeat themselves in our lives, a reason why so many viewers feel so special about this movie.

the late composer and conductor, George De Luru, certainly did a master piece of work on this movie. the sentiment and delicate nature of the music accompanying a very beautiful lyrics, "Time is like a dream..." (best of all kind of lyrics for me...period. to my openion!), makes it something very special all by itself. I can't wait till thismovie comes back on a DVD or something to that nature, so that I get to own it. A very beautiful music and lyrics accenting a powerful, yet, realistic love story.

if this movie does stir up any emotions in you, I don't know what else would!

This movie is a must see, that is, if you can find it. Oskar Werner gives an unforgettable performance and the supporting cast is amazing. Seek high and low, it's worth it. And... if you do find it, please let me know. I've been looking for years but it seems it's out of circulation. More's the pity.

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.

I agree with John Wilson that this is an undiscovered masterpiece. I have an old VHS copy. A famous music conductor is interviewed by a blonde journalist which looks at him by big blue adoring eyes. He has a brief, but very romantic espace in the English countryside with her. The best scene of the movie is when his wife, beautiful, intelligent and superbly played by Virginia Maskell, asks her husband to meet his new love. They meet at a restaurant. Futile talking for a few seconds. Then Antonia asks Sally if she loves music. Sally hesitates for a moment then utters: "I like music." Antonia looks at her husband for a few seconds, and the look is worth one hundred pages; she gets up and leaves, saying to her husband:"You can have the divorce. We have to talk about the children." After this pivotal scene, the film ends with Stefan meeting Sally a few years later. He had retrieved his senses and quitted the bimbo for the diamond. I wish that this movie is available in DVD. It has not aged a bit.

I saw this movie on late night TV several times in the late 70s, early 80s. Then it disappeared, and I haven't seen it since. I have been watching this site and Ebay for a couple of years hoping to find a copy. I finally found it for sale from Bovine Videos. Google to get exact web site. They have a collection of hard to find films. These are copies, and they are very upfront about the quality. Interlude was described as Fair/Good with a little graininess and quiet sound. I ordered it and delivery took about a week. When it arrived I had to watch it immediately of course. I would rate the quality about that of a movie taped at the slowest speed. But, I still loved seeing it again after 20 years, and am delighted to finally have a copy.

I have watched this film with the wonderful Oskar Werner at least fifteen times and shown it to many friends and relatives. I saved two VHS copies made from Cinemax and a local TV station when shown in the 1970's However, I recently purchased on Ebay a nonprofessional copy transferred to a DVD and the quality is better than my old videos. I also purchased recently an original French movie poster of this film which is far superior to the American poster. As for the film, there are so many favorite and memorable lines, e.g., when Oskar first calls the reporter to set up a meeting with her, his manager asks "Is she pretty?" and Oskar responds: "She is young." The dinner scene with the wife and girl friend is tense and so revealing, as many others have written, when Virginia asks Barbara if she loves music. And the final scene soon after the dinner in which Barbara breaks up with Oskar is devastating, especially if you have ever experienced a breakup with someone you still love and who loves you. And finally, the mystery ending that leaaves the viewer with an unanswered question--did Oskar reconcile with his wife or was he divorced? The only clue might be that he says music is his life. A great film, too long overlooked...perhaps we should all write to Columbia to request that it be released on a DVD.

This is the movie I took my wife to on our first date 32 years ago and I've been looking for it forever. Just got it through eBay today and I just feel great. Not only that this is a great movie, the theme song by Timi Yuro is a great tune also.

I loved this movie. I saw it once on TV in 1972, and never forgot it. It is a very moving love story, with the exceptional acting of Oskar Werner. It is my favorite movie of his, and he is my favorite actor. He was totally believable as an attractive orchestra conductor, married, in love with a young English girl. The story, the acting, the photography, and the music are wonderful. This movie has not been released officially on video or DVD. I would love to own a DVD of it. I recommend this movie highly. Oskar Werner seems to be playing himself! We are used to seeing Oskar Werner in character parts in American movies. I would love to collect his German movies, but cannot find them. I am a student of German and particularly enjoy hearing Oskar reading German poetry on records, now available on CD's. I am enjoying in particular hearing an interview he gave just before his death (heart attack) in 1984. Oskar Werner was mainly known as a stage actor, and each of his movies is a gem. I have read that his efforts to have his own theater in Salzburg did not work out due to his problems. He was both melancholy and exuberant. As a student of German, and a lover of Vienna, Oskar's home town, I am enthralled with all of his work. This simple movie "Interlude" is my absolute favorite of all of his movies, and highly recommend it. It will show a sexy side to this man which we never see in his other movies, in a very moving love scene. Cheers to Oskar Werner! I miss you, Oskar!

Thanks to a contributor from Cleveland who mentioned bovinevideos.com as a place to find a copy of 'Interlude'. I ordered one today and will let you all know how the quality is. I'm not expecting anything great, but felt it was worth $20 to re-visit this old favorite of mine. Like most of the posters here, I saw 'Interlude' in the late '60's and loved it. I thought Barbara Ferris was charming, Oskar Werner was stolid but convincing as the conductor, and the music was just terrific. Buying the soundtrack album led me to appreciate some of the classical pieces which had previously been unfamiliar to me. And, of course, a little bit of the great Cleese couldn't hurt.

Look for my memory lane post in a week or so. Let's see, the title song began, "Time....is like a dream...."

I saw this movie 35 years ago for a total of 5 times and I bought the vinyl LP for the beautiful classical music.

Years later, I watched it again on TV but didn't have a chance to tape it. It's a lovely movie and it's so sad that a treasure-forever DVD is not available.

Please, please, some company out there (Criterion perhaps!), please consider do a remaster on this movie and give us fans of the 'Interlude' something that we can treasure for the rest of our lives.

Great love triangle Excellent score Recommend for any lover of romance movies Does anyone know how to obtain a copy?