Perry Kate Very very predictable, including the post credit scene !!!

CrawlerChunky In truth, there is barely enough story here to make a film.

Cooktopi The acting in this movie is really good.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

HotToastyRag As the only American in the movie, Robert Mitchum was the only cast member whose words I understood the entire time. The women, Genevieve Page and Ingrid Thulin, as well as a handful of male cronies, spoke in such thick accents with a lack of knowledge about proper emphasis of syllables, I could barely understand what they were saying. Then again, in a movie entitled Foreign Intrigue, what could I expect?The beginning to the movie is very interesting, but when more people come on the screen with their various accents and interpretations of the lines, my interest in the plot quickly fizzled. Robert Mitchum's millionaire employer dies suddenly, and since Bob is the one who found him in his last moments, he's become a target to police investigations and reporters' questions. Everyone seems to ask the same question: "Did he say anything before he died?" It gets a little creepy, and Bob starts to understand there's more than meets the eye to the man's death. Before long, he's pulled into plots and subplots and sub-subplots, and there's no one he can trust!You can rent this one if you want the eye candy of Robert Mitchum in Technicolor, but you'd better pay attention to more than Bob's gorgeous mug. It gets pretty complicated!

T Y Though advertised as a noir, when this movie kicks off it feels like a feminine Douglas Sirk movie. And color noirs are extremely rare & problematic. After an unpromising, hazy, faded opening sequence, and after it abandons 'travelogue,' and 'class-envy feature,' the noir part finally arrives and it's shot really nicely. The compositions get nice and dark. A sequence with Mitchum in a dark house in Germany with a blind housekeeper is pretty striking and dreamlike.There's so much right about this movie that the two major things wrong with it are very disappointing; 1) The movie traipses through genre after genre, unsure if the Noir angle (so popular in the 40s) is enough/still salable to '50s audiences. It goes through romance, cloak-and-dagger movie, Hitchcock flick, Swedish woo-woo film (horny, easy blonds), etc. It gets very uneven as it tries to be all things to all viewers.2) It has the worst score in all of film history. Here's the irritating, percussive theme you have to listen to ad nauseum: "Click... clock.... click click clock!" Tense moment? "Click... clock.... click click clock!" Romantic moment? "Click... clock.... click click clock!" Tense negotiations? "Click... clock.... click click clock!" Police chase? "Click... clock.... click click clock!" It's beyond inept. It even plays as background music about 11 times. Brilliant though the theme is (sarcasm), it does nothing to underscore romance, tension etc. You've spent the money to film in European locations. Spend a buck on the score.Give it a look. Bring some earplugs.

kuciak I first saw this film as a young boy, and then for years it could not be seen on television, or for that mater anywhere else. I saw the film for the last time in the early 70's, until it was released again early again in this century.Others have gone into the plot of this film, and I will not do that. What is interesting for me is that the plot of the story is interesting, and it has one of the most unusual ending of any film made in the 1950's. Also while some have criticized Mitchums performance and if he is walking through this film, I think he plays it just right, a man of cool. Ela Fitzgerald once commented that she liked the way Mitchum walked. During the open sequence we see him, I am sure she is referring to this film. Watching him, you realize that if the opportunity had come, and he had wanted to, he could have been the American equivalent to James Bond. Perhaps he could have played the character that Dean Martin would play of Matt Helm, and in films that would have been more in keeping with the books. He really carries this film. His performance reminds me a little of the character he played in OUT OF THE PAST, a wiser Jeff Bailey perhaps.I see parallels with MR. ARKADIN and THE THIRD MAN, it really tries to be the latter, though does not succeed. It does have the classic look of the film noir, darkness with light shinning through certain areas of the frame, unusual for a color film of the time, and can be quite enjoyable to watch. Also the traces of the Noir film come immediately through when he informs his employers sexy young wife that she now has to become the grieving widow.Eastman color, while cheaper than the original Technicolor, does have a tendency to fade over time. When I first saw this film in color, it was rather gorgeous to look at. Perhaps the comment about the horrible Eastman color is due to the fading of these prints.If you liked Robert Mitchum in other films, I highly recommend this film just to see him. Without him the film would not be worth seeing at all.

LCShackley In order to review this movie, you need to put yourself back into the 50s when it was made. WW2 was just a decade before (closer than Desert Storm is to us), and the cold war was raging. Tales of spies, traitors, and exotic locations were just the ticket for mid-50s audiences. FOREIGN INTRIGUE has plenty of interesting turns and surprises, but it seems to be trying too hard to mix THIRD MAN with MR ARKADIN and perhaps a bit of WW2 Hitchcock (Sabotage, Foreign Correspondent?). I'm not a big Mitchum fan, but he gives his usual looming, low-key performance, and the supporting players do well. My real reason for watching this film (and I've been waiting over 30 years to catch it) is to see Frederick O'Brady, who plays the heavy (he was reviewed at the time as "out-Lorrying Peter Lorre."). He was my French teacher in 1973-74 at the Eastman School of Music and a great raconteur. He had enormous talent in music, languages, writing, and of course acting (having worked with Orson Welles in ARKADIN, plus Jean Renoir, Roger Vadim, and others). If you can find his autobiography ALL TOLD, you'll be fascinated. He told us that Mitchum tried to teach him to drive during the making of this movie, resulting in a wrecked car. Some thought this would be O'Brady's ticket to Hollywood, but instead French directors dropped him, assuming he would be asking too much money for "lowly" French pictures. He spent many years on stage and never had another juicy film part like "Spring" in this picture. If you enjoy the spy genre and aren't in a big hurry for lots of blazing action, find this movie!