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

There's one great scene in Beloved Infidel that's so fantastic, it's mind-blowing. Gregory Peck gets drunk and picks a fight with Deborah Kerr, and it escalates into violence. It's the best scene in the movie, and it's the one that will stick with you afterwards. But, unfortunately, the rest of the movie isn't very good.

From the point of view of notorious gossip columnist Sheila Graham, this movie follows the romance of F. Scott Fitzgerald and Graham in the final years of his life. The screenplay feels very biased, and it makes me wonder how much of it was actually true, since Graham's occupation was to blow up drama and cause a scandal in the newspapers. According to this movie, Graham was so physically attractive, Scott just couldn't resist her, and they constantly had blow-up fights and make up and break ups and it was so emotionally abusive that she was always a victim and cared too much and couldn't stay away because she feared for his safety and believe in him-Are you exhausted yet? Are you wondering whether or not every single scene is true? Don't go into this movie with high hopes, and if you're a huge F. Scott Fitzgerald fan, you're bound to be disappointed.

Ironically enough, Graham herself was disappointed with Gregory Peck's casting and portrayal. She wanted someone lighter colored, specifically Bing Crosby or Richard Basehart. Even more ironically, Fitzgerald's daughter was said to have thought Peck nailed her dad's personality. It just goes to show you that children and romantic partners have different points of view of the same person. Clearly, Graham wanted someone who came across as diminutive, unsure, and emotionally vulnerable (remember The Country Girl?). Gregory Peck doesn't look like F. Scott Fitzgerald in the slightest, and he could never pull off diminutive! Richard Basehart would have been wonderful, not only because of his physical appearance, but because he's a better actor. Don't throw anything at me, but Atticus Finch alone doesn't make an entire career of great performances. Basehart has layers Peck just can't take on, and this movie calls for acting chops Peck just doesn't have. If you doubt it, rent Fourteen Hours and try to imagine Gregory Peck on the ledge.

Deborah Kerr gives a typical Deborah Kerr performance, so if you like her, you'll like her in this movie. She's my mom's favorite actress of the golden age, but I'm not a fan. I wholeheartedly commend her for her desperation in the one great scene, though. On the whole, she showcases her wobbly voice, her strength, and her tearful emotion that she normally showcases in her movies. Weigh the potential pros and cons before renting this movie, and if you end up not liking it, just chalk it up to Hollywood drama and put it out of your mind. That's my advice.

This saga based on the novel by columnist Sheila Graham is the story of her relationship with troubled writer F. Scott Fitzgerald. For a large percentage of the first half of the film, Gregory Peck is charming, romantic yet brooding. He's been having issues in his writing career and turns to Hollywood where he is eventually fired and turns to excessive drink, an issue that leads to a violent episode with his lover, Sheila Graham (Deborah Kerr), a woman dealing with her own insecurities and at her wit's end of how to help him. In one early dramatic scene, she confesses the truth about her past, being an orphan, and making up an entire history in order to achieve some dignity and create a reputation as her career as a journalist takes off. These are two attractive people who have far too many issues to be in a successful romance, and even though they seem to live in luxury, that doesn't necessarily make them happy people.

Fitzgerald mentions to Graham that his wife, Zelda, is in a mental institution, but Zelda is never seen and only briefly talked about. they both influence each other in happier moments, and like in "From Here to Eternity" (with Burt Lancaster), Kerr shares a romantic beach scene with Peck. the explosive emotions of the film are aided by the lush cinemascope photography, luxurious sets and Franz Waxman's gorgeous musical score. Kerr and Peck are absolutely gorgeous together while this seems a romantic, but when the neuroses of their characters take over, it brings out an ugliness that no amount of physical beauty can repair.

The legacy of both stars has Kerr seen as feisty but sexless, and Peck as always heroic and noble. But behind Kerr's prim demeanor, there has always been a lioness, and behind Peck's image of a strong, quiet man of grace, there was the desire to show humanity's Dark Side. The actor who has one historical Acclaim as Atticus Finch is known for only one villainous role, Josef Mengele in "The Boys from Brazil", and while he is certainly no hideous villain like that here, the scene where he attacks Kerr is quite horrifying especially as he ridicules her for her past then threatens to kill her, destroying her bedroom while looking for a gun.

I can't vouch for the accuracy of the script as being true to Graham and Fitzgerald's story, but as a drama of Hollywood's effect on the human psyche, it is intense and especially well acted. Eddie Albert offers fine support as a confidant to both, providing much-needed comic relief when it is definitely required. what this does Express is the darkness that comes through in artists of Fitzgerald's temperament, and after reading the story of his tempestuous relationship with wife Zelda, it does indeed ring true. The theme of the film shows that sometimes the only way to cure emotional ailments it's you had a complete breakdown, which causes a necessary rebuilding. Superb direction by Henry King make this an unforgettable A picture that hits all the right emotions.