Hellen I like the storyline of this show,it attract me so much

Iseerphia All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

Yash Wade Close shines in drama with strong language, adult themes.

Staci Frederick Blistering performances.

Coastal Cruiser ([email protected]) Part way through I found myself wondering why I was still watching the movie. It was nice to see Ingrid Bergman 20 years after making Casablanca, but I just couldn't care that much about her dilemma in this film.One major detraction is Anthony Perkins. He has no business being in this film. I know he belongs in 'Psycho', but I don't think he's a fit as Bergman's younger lover.What's great though is the many outdoor shots of Paris in the 60's. The automobiles. Wow! Really great street scenes, night shots of Paris, and again, those goofy looking cars.And then there's that knockout Jocelyn Lane. She's doesn't last the duration of the film however, and that's really too bad.So in essence I'm recommending the first third of this film.

selffamily I watched this late last night, shaking myself to stay awake. Bergman as ever is sublime, and has a great life with her own successful business, wealthy clientèle and a sophisticated relationship with her lover, Roget (Montand), who insures himself against his own ageing body by using a string of youthful lovers whose names he can't be bothered to remember. Paula (Bergman)is referred to a job by Roget and there she meets a bored wealthy young man who has never been told "no" by his mother, his boss or anyone by the looks of things. Because she is basically not interested in anyone but Roget she does not fall at his feet, which intrigues him and he begins to pursue her, mistaking his growing infatuation for love. She is vulnerable because she is aware of her lover's own dalliances and becomes hooked on the adoration from this young pup, ending in an affair when Roget is out of town for a couple of weeks. This does not fit easily with any of them, she feels uncomfortable being with a man 15 years her junior, and he wants to live the life he wants with her in tow, giving him the affection he clearly missed out on from his mother. Eventually Roget and Paula reconcile and she gently evicts the youngster, not without a pang and marries the older man, only to have the realisation that he has not and will not change. It was as realistic as could be expected. Paris (even in black and white) was lovely and the acting was beyond criticism. I didn't weep however, nor did I want to - and I'm usually a soft touch for tear jerkers. This is obviously a classic and I'm glad I have finally seen it!

MarieGabrielle Well, in 1961, it had to be. It had to be the outcome (sadly) that Paula cannot enjoy Phillip and instead looks in the mirror, applies cold cream, and settles in for yet another evening of rejection and alienation as perpetuated by her faithless husband Roger. Well portrayed by Yves Montand, the trite and true comment "they mean nothing to me", as he cavorts with yet another substance less mistress.The tables are turned when a very young Tony Perkins(Phillip) appears on the scene and falls for Bergman. He is sympathetic in that he is searching for a deeper relationship, tired of young frivolous girls, and wants something he ultimately cannot have.Some of the scenes where he is elated, driving through Paris and reveling in the new affair are cinematic and affecting. Also there is a nice scene with a young and gorgeous Diahann Carroll, a lounge singer, singing the blues, telling Perkins life will go on..., love is just a word.This is a wonderful, forgotten film of cinema verity, at first I had assumed this was the comedic film fluff Bergman had filmed with Cary Grant, a forgettable romantic comedy. No,this film is the opposite, an affecting and relevant drama. Today perhaps the story would end on a positive note for the woman rather than her staying in a dead marriage with a faithless boor. 9/10.

blanche-2 Ingrid Bergman stars in 1961's "Goodbye Again" along with Yves Montand, Tony Perkins and Jessie Royce Landis. The setting is Paris, and Ingrid plays Paula, a 40-year-old designer carrying on a five-year affair with Roget (Montand) that is less than satisfactory much of the time - for one thing, he is promiscuous. However, they have a codependent relationship and breaking off with him is difficult. Finally, though, she does it, turning to a younger man, Philip (Perkins), who is madly in love with her.Based on a novel by Francoise Sagan, Ingrid Bergman does a beautiful job as Paula, playing the role with great emotion and depth and, as usual, she makes it look effortless. You can well understand why Philip would fall for her, but one has trouble understanding why Roget would want anyone else. As usual, whoever cast the film had no understanding of what an older woman finds attractive in a younger man. With perhaps two exceptions - both versions of "The Roman Spring of Mrs. Stone" - the casting is terrible in these May-December romance plots where the woman is older. Someone on the board suggested Robert Redford - undoubtedly, the person who suggested him is not a casting director. Normally, the "younger man" is TOO young and/or too boyish, so it seems almost mother-son - the beautiful Linda Gray playing opposite Christopher Atkins on "Dallas" is a great example. A role like Philip requires someone younger, yes, but sexy and masculine. This is not a criticism of Tony Perkins, a fine actor, but rather how the role was cast.Several people mentioned having a good cry over this film. I confess I had no urge to cry. I was frustrated as hell, though, that Paula could not break the cycle of codependency. Frankly, it's hard to feel sorry for people who put themselves through that type of emotional abuse - it's sad the first time, but when they continue doing it, it's annoying. Several people also used the word "independent" to describe Paula. Paula is not independent. She is codependent. My heart did go out to Philip. As for Roget - Montand was excellent, and the less said about his character, the better.Unfortunately, men like Roget exist, and there are still women like Paula who, with a chance to make a positive change, don't. There's something about the "prize" that's just out of grasp that must be very satisfying. Kudos to Bergman for showing us the emotional price to be paid.