Just what I expected

I'll tell you why so serious

hyped garbage

Clever, believable, and super fun to watch. It totally has replay value.

Similar in nature to the same year's "Irma La Douce" with the exception of the era in which it was set, this delightful romantic farce is a charming spoof of the fashion industry with a bit of the lady of the evening thrown in. The team of Paul Newman and Joanne Woodward may not be Burton and Taylor, but their pairings on film tend to have better scripts and are less overshadowed by their personal lives. Woodward here allows herself to be de-glamorized as a rather masculine woman who specializes in knock-offs of high end fashion and goes to Paris to find new stock. After perusing such outrageous frocks as a giant feather duster and curtains for the Versaille, she takes on a lesson from guest Maurice Chevalier to seek out womanhood. A trip to Elizabeth Arden changes her image, but sitting alone in a café only brings on the wrong kind of pass.Paul Newman, who encountered the obnoxious Woodward on the plane over from New York, at first doesn't recognize her, using the name Mimi instead of the more masculine Sam. He is allowed to think of her as paid companionship, a fact she doesn't dispute. But as he becomes wise to her, he has all sorts of bizarre fantasies of how to tame her, setting her up for the inevitable confrontation.The always sunny Thelma Ritter is a delight as Woodward's love-starved assistant with Eva Gabor, George Tobias and Marvin Kaplan in fine support. The fashion industry is playfully made fun of and there is the obvious feeling that the writer had some truth to his light-hearted attack. Sinatra sings the title tune over the credits which Chevalier repeats as part of a medley.

Why the 15 others who reviewed this before me didn't much care for it I don't understand. Melville Shavelson's script is very intelligent and often very clever, and it is delivered by a cast of uniformly first-rate actor/comedians. (It's no surprise that Shavelson also wrote the script for April in Paris, another romantic comedy set in the French capital. There, however, room had to be made for a too elderly and not really funny Ray Bolger, and the movie suffered for it. Here, with no weak links and a lot of very strong ones, Shevelson didn't have to lower the level of the comedy.) One of the things I most liked about this very likable movie is that it pokes gentle fun at a host of previous movies, from Breakfast at Tiffany's to The Women to Cat on a Hot Tin Roof to .... Woodward dressed up as a parody of Audrey Hepburn in Breakfast at Tiffany's is really clever. Or is that a parody of Norma Shearer in Idiot's Delight???The one thing that won't endear this movie to feminists, and rightfully so, are the repeated pronouncements that women must get married in order to be happy and that they will be miserable until then. I suppose that was necessary to balance the implied shenanigans, but it does get old quickly. For that, try to remember that the movie dates from a fortunately bygone era.Other than that, there is lots to enjoy here. So enjoy!

I'm shocked to see all of the negative reviews for this movie.Newman was in his prime, Woodward was sexy and funny, the supporting cast was beyond compare.The split screen of the fashion show and burlesque show remains a classic.This is good ole fashioned G rated 60's sex farce in the same vein as all those Doris Day - Rock Hudson/James Garner/Cary Grant/Rod Taylor films.Roamance without getting your hair mussed.One of my favorite comedies.I'm not sure what the other reviewers were expecting from this.True, Newman and Woodward have been in some dramatic classics, but that shouldn't deny them the right to a bit of fluff and fun, LIGHTEN UP !The story goes that Woodward had to talk Newman into making this and supposedly he never liked it but you wouldn't know that from his performance."There will be no further bulletins"9 out of 10 - never fails to cheer me up.

As far as pairings of Joanne Woodward and husband Paul Newman go, "A New Kind of Love" lacks the snappy plot and dramatic depth necessary to do its leading actors justice. Woodward steals the show as Sam, a homely and somewhat androgynous fashion designer often mistaken for a man (it's the pageboy haircut and constantly smoldering cigarette in her mouth); Newman is aesthetically pleasing (and alarmingly convincing) in the role of handsome, sarcastic Steve, a New York journalist who pursues more young women than hot story leads. After an initial awkward opening sequence, the first forty or so minutes of the film are stimulating, with intriguing color schemes and costumes, quick wit and acerbic dialogue, beautiful Parisian scenery and an escalating plot line. Beyond that, however, the plot seems to drag, and frequent unnecessary departures are made from it - the musical montage with Maurice Chevalier, for instance, slows the film down and only serves to severely date the film (not to mention alienate any viewer who is clueless as to who, exactly, Maurice Chevalier is.) Some scenes are played out far beyond their initial artistic effect (the split-screen sequences), while others are confusing and impede the general flow of the storyline (Steve's visions of bawdy tales played out like sports), giving the story an air of ridiculousness instead of credibility.All in all, this light comedy shines with the sheer romantic energy of Newman and Woodward (I found myself re-watching various parts of the film just to marvel at the undeniable chemistry between the two), but has none of the lasting impact of the pair's other films. It leaves one feeling a bit unsated, perhaps because of the overly-muddled plot that seems to have been convoluted merely to stretch the movie into a 90-minute romp - but the beautiful Woodward sparkles with natural talent, and Newman's on screen presence compliments hers seemingly without effort. Fans of Paul and Joanne will be charmed, but not moved, by this New Kind of Love.