IMDb > Beloved Infidel (1959)
Beloved Infidel
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Beloved Infidel (1959) More at IMDbPro »

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Beloved Infidel -- Toward the end of his life F. Scott Fitzgerald is writing for Hollywood studios to be able to afford the cost of an asylum for his wife. He is also struggling against alcoholism. Into his life comes the famous gossip columnist.

Overview

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6.0/10   581 votes »
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Director:
Writers:
Sy Bartlett (screenplay)
Sheilah Graham (based on the book by) ...
(more)
Contact:
View company contact information for Beloved Infidel on IMDbPro.
Release Date:
22 December 1959 (West Germany) See more »
Genre:
Plot:
Toward the end of his life F. Scott Fitzgerald is writing for Hollywood studios to be able to afford the cost of an asylum for his wife. He is also struggling against alcoholism. Into his life comes the famous gossip columnist. Full summary » | Add synopsis »
User Reviews:
Might have been better with different casting See more (16 total) »

Cast

  (in credits order) (verified as complete)

Gregory Peck ... F. Scott Fitzgerald

Deborah Kerr ... Sheilah Graham

Eddie Albert ... Bob Carter

Philip Ober ... John Wheeler
Herbert Rudley ... Stan Harris
John Sutton ... Lord Donegall
Karin Booth ... Janet Pierce
Ken Scott ... Robinson
rest of cast listed alphabetically:
Cindy Ames ... Miss Bull (uncredited)
Don Anderson ... Attendee at Preview (uncredited)
Mel Berger ... Man Who Sings (uncredited)
Paul Bradley ... Dinner Party Guest (uncredited)
Harry Carter ... TWA Agent (uncredited)
Buck Class ... Dion (uncredited)
Harry Denny ... Mr. Foster (uncredited)
Tom Duggan ... Nunnally Johnson (uncredited)
Donald Durrell ... Student Putting on Play (uncredited)
Douglas Evans ... Harry (uncredited)
Bess Flowers ... Attendee at Preview (uncredited)
George Ford ... Party Guest (uncredited)
Joseph Forte ... Intellectual Man (uncredited)
Frank Gerstle ... Frank - Reporter (uncredited)
Mickey Golden ... Mailman (uncredited)
James Gonzalez ... Reporter (uncredited)
A. Cameron Grant ... Fred Johnson (uncredited)
Tom Greenway ... Director (uncredited)
Robert Haines ... Man at Airport (uncredited)
Jim Hayward ... Smedley Jones - Beach Bum (uncredited)
Jonathan Hole ... Dr. Hoffman (uncredited)
Stuart Holmes ... Restaurant Diner (uncredited)
Linda Hutchings ... Airline Stewardess (uncredited)
Ted Jordan ... Radio Director (uncredited)
Kenner G. Kemp ... Dinner Party Guest (uncredited)

Jack Kruschen ... Darby Forsythe - Beach Bum (uncredited)
Lita Leon ... Dolly Arden (uncredited)
Maurice Manson ... Jack Hellman (uncredited)
Mary McClure ... Young Girl on Plane (uncredited)
Harold Miller ... Attendee at Preview (uncredited)
Hans Moebus ... Attendee at Preview (uncredited)
King Mojave ... Attendee at Preview (uncredited)
Ralph Montgomery ... Plane Passenger (uncredited)
Mary Ellen Popel ... Miss Clayton (uncredited)
Ed Prentiss ... Attendee at Preview (uncredited)
Cosmo Sardo ... Dinner Party Guest (uncredited)
Mary Jane Saunders ... Student Putting on Play (uncredited)
Jeffrey Sayre ... Man at Airport (uncredited)
Charles Tannen ... Radio Director (uncredited)
Bob Turnbull ... Assistant Director (uncredited)
Elmore Vincent ... Neighbor (uncredited)
Paul von Schreiber ... Newsboy (uncredited)

Dan White ... Bookshop Proprietor (uncredited)

Directed by
Henry King 
 
Writing credits
Sy Bartlett (screenplay)

Sheilah Graham (based on the book by) and
Gerold Frank (based on the book by)

Produced by
Jerry Wald .... producer
 
Original Music by
Franz Waxman 
 
Cinematography by
Leon Shamroy (director of photography)
 
Film Editing by
William Reynolds 
 
Art Direction by
Maurice Ransford 
Lyle R. Wheeler 
 
Set Decoration by
Eli Benneche 
Walter M. Scott 
 
Costume Design by
Bill Thomas 
 
Makeup Department
Ben Nye .... makeup artist
Helen Turpin .... hair stylist
 
Second Unit Director or Assistant Director
Stanley Hough .... assistant director
Jack Stubbs .... assistant director (uncredited)
 
Art Department
Fred R. Simpson .... property master (uncredited)
 
Sound Department
Harry M. Leonard .... sound
E. Clayton Ward .... sound
 
Camera and Electrical Department
Lee Crawford .... assistant camera (uncredited)
Fred Hall .... head gaffer (uncredited)
Paul Lockwood .... camera operator (uncredited)
Leo McCreary .... key grip (uncredited)
 
Costume and Wardrobe Department
Willie Mae Neal .... costumer: women (uncredited)
Wesley Trist .... wardrobe: men (uncredited)
 
Editorial Department
Leonard Doss .... color consultant
 
Music Department
Edward B. Powell .... orchestrator
Leonid Raab .... orchestrator (as Leon Raab)
 
Other crew
Rose Steinberg .... script supervisor (uncredited)
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
123 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
4-Track Stereo (Westrex Recording System)

Did You Know?

Trivia:
When Graham first arrives in Hollywood, she watches the filming of a scene involving a woman who she says is a terrible actress. The scene is a veiled reference to "In Old Chicago" which starred real-life actress Alice Faye.See more »
Goofs:
Anachronisms: In 1937, in Hollywood, Deborah Kerr is driving a 1939 Buick convertible.See more »
Movie Connections:
References In Old Chicago (1937)See more »
Soundtrack:
You Were Meant for MeSee more »

FAQ

Why is Zelda, Fitzgerald's wife, not in the cast of characters? There's no mention of her at all. Why?
See more »
Might have been better with different casting, 6 June 2013
Author: James Hitchcock from Tunbridge Wells, England

One of the quirks of the English language is that although the words "infidel" and "infidelity" both derive from the same Latin root, meaning "unfaithful", they normally have differing meanings in English. "Infidelity" generally refers to adultery or sexual unfaithfulness, whereas an "infidel" normally means someone who does not believe in the tenets of a particular religion. It would be unusual, to say the least, to use the word "infidelity" to mean religious unbelief or to call an adulterer an "infidel". This film, however, is not concerned with the religious beliefs, or lack of them, of its main character, the writer F. Scott Fitzgerald. (He was raised as a Catholic but does not appear to have been a particularly devout one in adult life). I can only therefore assume that the title refers to his infidelity to his wife, Zelda.

When I heard that the film was based on the life of Fitzgerald, I assumed that it would be about his wild and tempestuous life with Zelda during the twenties and early thirties. Instead, it concentrates on the last few years of his life, the period 1937 to 1940, and his relationship with his mistress, the journalist and gossip columnist Sheilah Graham. Indeed, Zelda does not appear in the film, although she is referred to. By 1937 Zelda was suffering from mental illness and was confined to a psychiatric hospital, but she and Scott were still married. Indeed, the two were never to divorce, and she legally remained his wife until his death.

The main problem with the film is that of miscasting. Gregory Peck's most frequent screen image was that of an authoritative, rational and gentlemanly figure, so he does not really seem a natural choice to play a notorious hell-raiser like Fitzgerald. Peck occasionally succeeded in his efforts to break away from his normal persona, as in "Duel in the Sun", "The Boys from Brazil" or "Moby Dick" in which he made a notable Captain Ahab, but in several other films attempts to cast him against type fell flat. A good example is "Macarthur" from the latter part of his career, in which he never succeeded in capturing General Macarthur's aggressive, combative personality. In the initial part of this film Peck portrays Fitzgerald as yet another quiet, charming gentleman, and his portrayal is certainly convincing, although I did find myself wondering how close it was to the real Scott Fitzgerald. His past struggles against alcoholism are referred to, but for a while it seems as though he has conquered his addiction. Midway through the film, however, Fitzgerald falls off the wagon after he is sacked from his job as a Hollywood scriptwriter, and Peck is much less convincing as a violent, abusive drunk than he is as a gentlemanly intellectual.

For a film made in the 1950s, with the Production Code still in force, this one is remarkably sympathetic in its treatment of adultery. Sheilah Graham is very much the heroine of the film, not its villain. (That is perhaps not surprising given that the film was based on her own memoirs. Fitzgerald had died in 1940 but Graham was still very much alive in 1959). She is portrayed as a kindly and understanding lover, patiently trying to help Scott deal with his problems, rather than as the heartless seductress which during this period was the standard cinematic image of women sexually involved with another woman's husband. Deborah Kerr was one of the screen's most famous "good girls", although she also had the ability to portray characters who hid passionate natures beneath a quiet, reserved surface, such as Karen, the adulterous Army wife in "From Here to Eternity", the troubled Sister Clodagh in "Black Narcissus", the haunted governess in "The Innocents" or another haunted governess, Miss Madrigal in "The Chalk Garden", in that case haunted by guilt rather than by anything supernatural. In "Beloved Infidel", however, Kerr seemed unable to draw upon this ability, and her Sheilah comes across as a character who is all surface with nothing much going on underneath. Kerr also fails to make the most of another aspect of her character, the toughness and determination which enabled her to rise from poverty in Britain to become one of the most famous women in America.  

There are some good things about this film- the script is a good one and it is attractively photographed. For a film of its period it has touches of originality, breaking away from the traditional "eternal triangle" concept of marital infidelity, a triangle composed of a weak, erring husband, a saintly, long-suffering wife and a wicked other woman. (This concept was not confined to the fifties, or even to the Production Code era; "Fatal Attraction" is a good example from the late eighties, and examples can still be found today). I felt, however, that it might have been better had alternative actors been found for the two leading roles. 6/10

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