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 a prestigious family and moves to New York to seek his fortune.

He finds his mother, Martha driven to alcoholism by years of neglect and abuse from her husband Samuel Eaton, owner of a prestigious iron and steel company.

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.

The boy's grandfather, James Duncan MacHardie, the most famous financier in America, invites Alfred and Mary to dinner.

MacHardie's son-in-law, Creighton Duffy, suggests that Alfred spend two months in rural Pennsylvania checking out the business aptitude and prospects of Ralph Benziger, a prosperous coal mine owner.

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.

However, for a drama so sharply and ironically concerned with human foibles, in business, love and marriage, it lacks real culminative power.

"[7] 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".

[8] 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".

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.