Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Seraherrera The movie is wonderful and true, an act of love in all its contradictions and complexity

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Jenni Devyn Worth seeing just to witness how winsome it is.

lasttimeisaw Golden-Age Hollywood screwball fabricator Preston Sturges' last feature film worthy of his caliber, UNFAITHFULLY YOURS stars Rex Harrison as a renowned conductor Sir Alfred de Carter, on the eve of his concert, he is deviled by the paranoia that his much younger wife Daphne (Darnell) might have an extramarital affair with his personal secretary Anthony Windborn (Kreuger) thanks to his philistine brother-in-law August Henshler (Vallée)'s presumptuous misconstruction.The apprehension and exasperation of being cuckolded hangs like a rock over Alfred's mind and Sturges only knows all too well, that for a man of Alfred's Brobdingnagian ego, the last thing to do is to lay bare his suspicion point blank in front of Daphne, from blunt rebuke to mounting curiosity, until firmly convinced by the circumstantial evidence, it all comes down to an increasingly fractious Alfred envisages three possible outcomes when wielding his baton in front of a full symphony orchestra and a full-house audience. Every scenario is pertinently induced by a different classical piece from romantic-era he conducts and introduced by a cracking zooming-in shot right into Alfred's eyeball, the overture of Rossini's baroque SEMIRAMIDE triggers a murderous plan A which a framed Anthony to take the rap, yet what Wagner's operatic TANNHÄUSER suggests is a plan B with lenience and munificence, whereas plan C of a Russian roulette derring-do is influenced by Tchaikovsky's symphonic poem FRANCESCA DA RIMINI, a special treat for musos and cinephiles alike. Sardonically, reality is, more often than not, not exactly what we have imagined, so during his execution of one of the plans after the concert (interestingly, the choice of the plan betrays Sturges' arch amalgamation of comedy and morbidness), a knockabout transpires in a slightly labored fashion which plays up to Alfred's clumsiness, and he is merely stuck in the preparatory step with the "so-simple-it-operates-itself" home recording unit when Daphne returns, thus an air-clearing finale is all we need to put everything back to the status quo. A motormouthed Rex Harrison simulates a great impression as a conductor and relishes Sturges' long-winded screenplay which jollily throws barbs to the folly of machismo, meanwhile, Linda Darnell is hobbled as a virtuous beauty with a little more to act (albeit it is all in one's figment), yet, quintessentially it is Sturges' trademark witticism and sleight-of-hand that marks this oldie a treasure to be appreciated by posterity and here is the takeaway quip to round off my review - "If there is one reassuring thing about airplane, they always come down."

cstotlar-1 This film has a symmetry we seldom see in any comedies, by Sturges or anyone. It begins with a happy couple and dissolves into suspicion. Then the fun begins and the weird balance takes over. The conductor's concert becomes a three-act play with the scenes related yet illogical, as dreams so often go. After the concert, the conductor tries to relive his fantasies and virtually nothing cooperates with him. Preston Sturges was always brilliant with his dialog and love of words and here you see this at the beginning. That, for the viewer is Act One. The concert itself with the images of revenge makes up the second act, a black one at that. Finally, at the end of the concert comes the hilarious Act Three, an hysterically funny attempt to put the emotions and illusions into practice - with disastrous results. So the concert had its own three acts within and the viewer gets another broader three. The verbal humor in the beginning becomes a visual portrayal of revenge in the middle and a foiled attempt to carry it off in the end. I've never thought of Sturges as working with physical humor but he did here and extremely well. The conductor's attempt to pull ideas into the realm of reality prove as deranged as his suspicions. I think the presence of classical music scares many Americans away from the screen. Sturges appears to know the subject intimately well, so for me, as a professional musician, this is perfect film in beautiful balance.

JLRMovieReviews Symphony conductor Rex Harrison discovers his wife Linda Darnell has been unfaithful to him, or so it seems, according to a detective's investigation and report, requested by brother-in-law Rudy Vallee, who misunderstood Rex's parting words (while he was on tour) "of looking after my wife" and of whom Rex does not like, at all.While this movie is good, (and I don't say this very often if ever, but...), it has earned a somewhat overrated reputation over the years. It is funny in parts and it has class in spades, but its ending lays kind of flat given all the build-up to it. Its main attribute is Rex's hammy performance. He's the whole show, with all his emphatic and vociferous syllables, including Rudy Vallee jokes that Rudy is a bore. (It's ironic that Rudy's singing career in the 20s and 30s made him such a ladies' man celebrity and sensation, but in movies he's typecast as a stuffed shirt.) Overall, you may like this, and you will definitely laugh throughout the film, but there's no last laugh that leaves you smiling out the door.

slothropgr I'm not sure how anyone--Sturges or Zanuck especially--could figure that audiences would go for this picture. Here we have a protagonist (one certainly can't call him a hero) who is duplicitous, arch, and neurotic to the point of psychosis, played by an actor who hammers each of these characteristics home like a railroad spike. It's one thing to fantasize about murdering one's wife (without a shred of proof), it's quite another to then go about trying to do it in real life (with no more proof). Sturges seemed to think that making Harrison utterly incompetent and slapsticky in the attempt would make it funny. Whether he ever intended that the audience forgive or even tolerate this would-be murderer isn't clear. One passionate declaration after he's failed just isn't enough. And casting the inexpressibly beautiful Linda Darnell in one of her very few completely sympathetic roles doesn't help. She could play both sides of the fidelity coin better than anyone, but he doesn't give her the chance. Her fidelity is so overplayed at times that I was quite prepared for at least a little undercutting. But it never came. I wonder if a year later, his career in ruins because of this picture, Sturges saw "Kind Hearts and Coronets" and figured out where he went wrong.