From the Terrace


From the Terrace is a 1960 American DeLuxe Color romantic drama film in CinemaScope directed by Mark Robson from a screenplay by Ernest Lehman, based on the 1958 novel of the same name by John O'Hara. The film stars Paul Newman, Joanne Woodward, Myrna Loy, Ina Balin, George Grizzard, and Leon Ames, with a young Barbara Eden appearing in one scene. The plot tells the story of the estranged son of a Pennsylvania factory owner who marries into a prestigious family and moves to New York to seek his fortune.

From the Terrace
Poster of From the Terrace.jpg
Theatrical release poster
Directed byMark Robson
Screenplay byErnest Lehman
Based onFrom the Terrace
by John O'Hara
Produced byMark Robson
CinematographyLeo Tover
Edited byDorothy Spencer
Music byElmer Bernstein
Distributed by20th Century Fox
Release date
  • July 15, 1960 (1960-07-15) (United States)
Running time
144 minutes
CountryUnited States
Budget$3 million[1]
Box office$5.2 million (US and Canada rentals)[2]

This was the third film that real-life spouses Newman and Woodward made together.[3]


In 1946, navy veteran David Alfred Eaton (Paul Newman) returns home from the war to Philadelphia. He finds his mother Martha (Myrna Loy) driven to alcoholism by years of neglect and abuse from her husband Samuel Eaton (Leon Ames), owner of a prestigious iron and steel company. Having withdrawn from his family after the death of his firstborn son thirteen years earlier, Samuel's resentment drove Alfred to turn his back on the family business and strike out on his own with Lex Porter (George Grizzard), his closest friend.

While attending a party at the estate of Lex's wealthy uncle, Alfred is dazzled by Mary St. John (Joanne Woodward), the daughter of a wealthy family. Mary is drawn into a relationship with Alfred and breaks her secret engagement to Dr. Jim Roper (Patrick O'Neal), defying her parents. After a humiliating argument, Alfred's father falls ill, and Alfred shuns the family business once again to start an aviation company with Lex.

On his wedding day, Alfred receives word that his father has died. Certain that Samuel has timed his death to spite him, Alfred goes ahead with the ceremony. With his uncle's money, Lex and Alfred then fund the Nassau Aircraft Corporation, but when Lex shows more interest in perfecting aircraft designs than in selling planes, Alfred becomes impatient.

One wintry day, Alfred and Mary are driving home from a party when they see a little boy fall through the thin ice of a frozen pond. Alfred plunges into the icy waters to save him. The boy's grandfather, James Duncan MacHardie (Felix Aylmer), the most famous financier in America, invites Alfred and Mary to dinner. MacHardie, a shrewd businessman, sensing Alfred's drive and ambition, offers him a job in his investment firm.

Obsessed by the need to outdo his father, Alfred travels the country for MacHardie, leaving Mary alone for months at a time. Lonely and self-pitying, Mary begins to resent Alfred's constant absences. Creighton Duffy (Howard Caine), MacHardie's son-in-law, whose position is threatened by Alfred's acumen, suggests that Alfred spend two months in rural Pennsylvania checking out the business aptitude and prospects of Ralph Benziger (Ted de Corsia), a prosperous coal mine owner.

After an ugly argument with his wife, Alfred goes to Pennsylvania. Invited to dinner at Benziger's home, he meets Natalie (Ina Balin), the man's beautiful and compassionate daughter. Lonely and overwhelmed by her sensitivity, Alfred impetuously invites her on a date, but she refuses because he is married. Later that night, however, Natalie reconsiders and meets him at a drive-in movie the following evening.

Alfred confides to Natalie that her warmth and generosity has made him realize what a sham his marriage is. They share a kiss, but Natalie still believes they must end this relationship before it goes any further for both their sakes.

Upon returning to New York, Alfred immediately is summoned to MacHardie's office. He is informed that Mary has been having an affair with Dr. Roper. But the archly conservative MacHardie proceeds to warn Alfred that he will not tolerate divorce within his firm, considering it a failure in the employee's character. MacHardie also assigns him to analyze the Nassau Aircraft Corp., his former firm, as a possible investment.

One night, while leaving a party with his wife, Alfred unexpectedly encounters Natalie in front of the hotel. Sensing that Alfred and Natalie were intimate, Mary vindictively calls Roper and makes a date with him. Alfred goes to meet Natalie and tells her that, although he is estranged from Mary, his career prevents him from requesting a divorce.

Alfred begins to investigate Nassau Aircraft's business practices. Duffy, who has become unethically involved with Nassau and will reap a financial windfall if MacHardie invests in the company, threatens to blackmail Alfred unless he suppresses his report.

Alfred and Natalie find themselves unable to resist their attraction to each other, and they meet for a tryst in a hotel room. Photographers hired by Duffy burst in and capture their indiscretion. Natalie, uncertain if Alfred's main concern is to save her reputation or his career, decides to leave. Mary, meanwhile, suggests to her husband that they share an open marriage, seeing whomever they please. After she seductively retires to her bedroom, the scandalous photos are delivered to Alfred at his home.

At work the next day, MacHardie ushers in Mary to celebrate Alfred's surprise promotion to partner. Duffy smirks, only to see Alfred rise and denounce MacHardie's hypocrisy of placing success and social position above personal responsibility and happiness. Alfred then issues the uncensored report exposing Duffy's duplicity and walks out. Mary runs after him, but it is too late. He leaves her for good and returns to Natalie's home and a new life.



The film had its world premiere engagements at the Paramount Theatre and Murray Hill Theatre in New York City on July 15, 1960.[4]


Howard Thompson of The New York Times wrote: "This is a handsome picture, well-performed and emotionally intriguing ... However, for a drama so sharply and ironically concerned with human foibles, in business, love and marriage, it lacks real culminative power."[5] Variety stated that "the more discriminating film-goer will find 'From the Terrace' seriously deficient. Whether the fault lies with O'Hara's basic material or Ernest Lehman's screenplay is difficult to assay by a reviewer who skipped the novel ... On the assumption that Lehman followed the O'Hara story closely, the blame must be placed squarely on the novelist, for 'From the Terrace' builds up to one big cliche."[6] Philip K. Scheuer of the Los Angeles Times wrote that the film "has been bolstered a degree above soap opera by its creators and does make a point of sorts against modern materialism", though "one is left with the feeling that its makers were not able to compress the portions that they have used into a drama of much consequence or climax".[7] Richard L. Coe of The Washington Post called the film "an interminable essay on the horrors of money, love, and sex", with a story that "has more gaps than a dial phone".[8] Harrison's Reports was positive, declaring it "Outstanding entertainment ... It is loaded with brilliant dialogue, expert acting, human interest, suspense, and some comic touches."[9] The Monthly Film Bulletin called it "a seriously deficient film. After a long prologue devoted to providing a motivation for Alfred's obsessive pursuit of wealth (in the course of which Myrna Loy's thorough portrayal of alcoholic misery becomes a stiff price to pay for what amounts to very meagre enlightenment), the film builds up to a shapeless monument of banality."[10] John McCarten wrote in The New Yorker that "Mr. Robson's direction is, except for the first few scenes, unimaginative. But then, the screenplay Mr. Lehman has come up with would hardly inspire anybody."[11]

Joanne Woodward later admitted to having "affection" for the film "because of the way I looked like Lana Turner".[12]

The film holds a score of 31% on Rotten Tomatoes based on 13 reviews.[13]


Additional films that Paul Newman and Joanne Woodward made together:


  1. ^ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. The Scarecrow Filmmakers Series. Lanham, Maryland: Scarecrow Press. p. 252. ISBN 978-0-8108-4244-1.
  2. ^ "All-Time Top Grossers". Variety. January 8, 1964. p. 69. ISSN 0042-2738.
  3. ^ "From the Terrace (1960) – Articles –".
  4. ^ "From the Terrace (advertisement)". Variety. June 29, 1960. p. 21. ISSN 0042-2738 – via Internet Archive.
  5. ^ Thompson, Howard (July 16, 1960). "Screen: 'From the Terrace' Opens". The New York Times. 10.
  6. ^ "Film Reviews: From the Terrace". Variety. June 29, 1960. 9.
  7. ^ Scheuer, Philip K. (July 16, 1960). "View From 'Terrace' Tolerable". Los Angeles Times. Part III, p. 3.
  8. ^ Coe, Richard L. (July 30, 1960). "Strife Rife On 'Terrace'". The Washington Post. D19.
  9. ^ "'From the Terrace' with Paul Newman, Jianne Woodward, Myrna Loy and Ina Balin". Harrison's Reports. July 2, 1960. 106.
  10. ^ "From the Terrace". The Monthly Film Bulletin. 27 (320): 124. September 1960.
  11. ^ McCarten, John (July 23, 1960). "The Current Cinema". The New Yorker. 73.
  12. ^ MEL GUSSOW (Apr 28, 1975). "The Newmans: 2 Lives in the Movies". New York Times. p. 33.
  13. ^ "From the Terrace". Rotten Tomatoes. Retrieved October 3, 2020.

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