I like the storyline of this show,it attract me so much

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Exactly the movie you think it is, but not the movie you want it to be.

NOTES: The Academy of Motion Picture Arts and Sciences' Award, Best Actor, David Niven, defeating Tony Curtis in The Defiant Ones, Paul Newman in Cat on a Hot Tin Roof, Sidney Poitier in The Defiant Ones and Spencer Tracy in The Old Man and the Sea.The Academy of Motion Picture Arts and Sciences' Award, Best Supporting Actress, Wendy Hiller, defeating Peggy Cass in Auntie Mame, Martha Hyer in Some Came Running, Maureen Stapleton in Lonelyhearts, and Cara Williams in The Defiant Ones.Also nominated for Best Picture (won by Gigi), Best Actress, Deborah Kerr (won by Susan Hayward for I Want To Live), Best Screenplay based on material from another medium (won by Gigi), Best Black-and- white Cinematography (won by The Defiant Ones), Best Scoring of a Drama or Comedy (won by The Old Man and the Sea).With a domestic rentals gross of $2.7 million, number 20 at U.S./Canadian ticket windows for 1959. Oddly, although it took good money, the movie was nowhere near as successful in the United Kingdom. In Australia, however, the picture was a colossal success, placing no less than 7th at the national box-office in what was an extremely difficult year for cinemas with that new novelty of television finally starting to really bite into capital city revenues. David Niven, Best Actor — New York Film Critics. David Niven, Best Actor — Foreign Language Press of New York. Deborah Kerr, Best Actress — Foreign Language Press of New York. David Niven, Best Dramatic Actor — Hollywood Foreign Press. Second to The Old Man and the Sea as Best American Film of 1958 — The National Board of Review. Best Film of the Year — New York Daily News. 7th Best of the Year — Film Daily annual poll of American film critics. 5th Best of 1958 — The New York Herald Tribune. 7th Best of 1958 — The New York Post. 2nd to Gigi as the Best Film of 1958 — The New York Daily Mirror. 4th Best Movie of 1958 — Filmfacts composite list. One of the ten best films of the year on the alphabetical lists published by The News Orleans Times-Picayune, The New York Journal American, and The New York World-Telegram. The above of course is merely a sample of the numerous awards and nominations accorded to Separate Tables.COMMENT: Originally presented on the West End (London) stage with enormous critical and public support, "Separate Tables" was re- staged with even more acclaim on Broadway. In fact, both the Broadway play and Rattigan were nominated for a Tony Award. It was inevitable that such a triumph be eyed by Hollywood. No- one, however, was more aware of the problems confronting a movie version than Rattigan himself. He felt that "Separate Tables" would not make a successful, or even a feasible motion picture unless its plot could be ingeniously reconstructed into one unified narrative. Therefore, when he sold the film rights to Hecht, Hill and Lancaster, Rattigan insisted that he be engaged to write the screenplay.In making this transformation, the somewhat downbeat and noirish elements of the original play have been modified. Nonetheless, the characters themselves have been strengthened and made more interesting so that players like David Niven, Deborah Kerr, Gladys Cooper and Wendy Hiller would have a field day.However, despite the well-merited adulation for Niven, Kerr and Cooper, I thought the players in the other segment of the movie, namely the other original one-act play, equally and perhaps even more deserving. Wendy Hiller figures in both episodes, but she is at her best in these other segment scenes. At the same time, Burt Lancaster never gave a better performance, while Rita Hayworth absolutely dazzles with her brilliance.

The stories of several people are told as they stay at a seaside hotel in Bournemouth which features dining at "Separate Tables." This film is clever in that it has two stories really running parallel in one film. They do not overlap or interact other than to take place in the same setting. Connecting more would probably have helped create a stronger plot, but having them run in tandem was more bold, as if having two films in one.This is Burt Lancaster's film, because he both starred and produced. Allegedly he made some cuts and edits that the direct did not approve of, apparently to enlarge his role. I don't know anything about that, but if true, it is something of a shame, because David Niven's character is the more interesting.

Actually, I would rate this film a bit higher than 8 if I knew how to do so. You wouldn't think that a film where the action takes place in virtually one room would qualify for greatness but the character studies alone make this film outstanding. One of the best ever. Fortunately, there is sufficient variety in character to keep one's interest at a high level. You don't have time for your mind to question why one behaves thus before the story is already involved with another character's dilemma. And, you don't have time to critique how well a character displays an emotion before the impact is felt elsewhere. If you are a collector of fine films, this one belongs in your collection.

It sometimes seems as though most of Hollywood's 1950s stage adaptations were either based on a Tennessee Williams play, or directed by Elia Kazan, or both. 'Separate Tables (1958)' belongs to neither category, but nevertheless deserves to stand alongside the likes of 'A Streetcar Named Desire (1951)' or 'Cat on a Hot Tin Roof (1958).' Headlining the very distinguished cast are Burt Lancaster, David Niven, Rita Hayworth, Deborah Kerr, and Wendy Hiller, playing residents at a British country motel, each concealing secrets and hidden motives that don't remain hidden for long before the prying eyes of the house's gossipy old women. Though the entire story unfolds in the one location, the film's extensive motel set is nevertheless an impressive stage for the actors' talents, with Mann's versatile camera effortlessly switching between rooms and angles. The film takes in awkward conversations and intimate exchanges from all corners of the motel, weaving a tapestry of small, parallel stories (indeed, the screenplay was drafted by combining two related one-act plays by Terrence Ratigan). Some of the subject matter is fairly bold for its time, with sex and perversion playing important roles.'Separate Tables' is truly an actors' picture. The film is a Powell/Pressburger reunion of sorts. Kerr ('The Life and Death of Colonel Blimp (1945))' pulls off a difficult role as a mousy, painfully- shy young woman, her timidity so utterly complete that I could scarcely watch her out of pity. The performance highlights Kerr's wonderful versatility; she could alternate with ease between portraying introverts and extroverts (and even both within the same character, as in 'Perfect Strangers (1945)'). Burt Lancaster enters the film with a rather peculiar accent, but soon settles into his usual acting groove. Opposite him, Rita Hayworth is as beautiful as ever, with a tinge of the insecurity that comes with middle-age. David Niven ('A Matter of Life and Death (1946)') won an Oscar for his bumbling, Latin-mangling WWII Major, an amusing yet poignant depiction of a social outcast. According to Niven's biography "The Moon's A Balloon (1972)," a prominent rival- studio producer tried to sabotage the actor's Oscars campaign by spreading a false rumour that he had attended the stage-show dozens of times, and had directly copied Eric Portman's stage performance.