Now He Knew Her as Other Men Had!
In 1910, a wayward mother re-visits the family she deserted.
In 1910, a wayward mother re-visits the family she deserted.
Barbara Stanwyck Richard Carlson Lyle Bettger Marcia Henderson Lori Nelson Maureen O'Sullivan Richard Long Billy Gray Lotte Stein Dayton Lummis Fred Nurney Lois Austin Bobby Barber Margaret Bert Henry Blair Lela Bliss Virginia Brissac Ralph Brooks Budd Buster Wheaton Chambers Edmund Cobb Alan DeWitt Helen Dickson Sally Fraser Brett Halsey Chuck Hamilton Thomas E. Jackson Pat Lane Mary Newton Show All…
Desejo de Mulher, Désir de femme, All meine Sehnsucht
Despite walking into a film by my favourite director starring my favourite actress, I tried to not let expectations get too high - it is, after all, a "minor" Sirk that couldn't possibly hold a candle to his acclaimed masterpieces, right?
The film is about a woman (Stanwyck, in a brilliant performance) returning to the family she left years ago to achieve career success and to avoid brewing scandal, and dealing with the effects of her departure, which each character deals with differently. It's amazing how a film made in the 1950s about characters in the 1900s rings so true today about characters, emotion and even fate, such is the timeless nature of Sirk's art. The characters react in such…
An affecting drama in Douglas Sirk's familiar style, with Barbara Stanwyck given one of her best later roles - and so giving one of her best later performances.
As in the pair's other film together, 1956's There's Always Tomorrow, she's a woman returning to a town she left years before, complicating the lives of the married man she once loved (Richard Carlson), his son and his two daughters. This time, though, the kids are hers and the man was once her husband.
It's not quite as effective, unusual or stylistically striking as that later film, which made vivid use of the wide screen then de rigueur, with compositions rich in symbolism (hello Rex, the Walkie Talkie Robot Man), but it…
A collaboration between Sirk and Stanwyck that unfortunately bears the strong imprint of its producer. Douglas Sirk remembered with regret that "Ross Hunter was iron" and among other changes, insisted on losing the original title of Stopover: "It was a much darker title. It would have deepened the picture and the character - and at the same time the irony."
There is such glowing potential in All I Desire with Sirk's habitual finesse of camera placement and a very strong performance from Barbara Stanwyck (Sirk: "an excellent actress, one of the best in town") but the compromises weaken the melo in the drama. Sirk wanted lustrous colour but Universal refused and insisted it be made in cheaper black and white.…
With All I Desire, Sirk continues to mine the crippling attitudes of conformist society through a classic 'stopover' scenario, with a woman returning to the town of her hurtful past. Although, here it is critiqued in an earlier time period. Instead of the postwar 50s, the film critiques the bourgeoisie society of the 1910s. To Sirk, fundamentally not a lot has changed.
Once again, there is biting social commentary with some moments of genuine truth scattered throughout. The depiction of the smothering righteousness of the small town might seem a little histrionic, but ultimately the protagonists do favour survival through self-integrity rather than fleeing and/or succumbing to the fascism of town gossip. This film concerns the prodigal return and forgiveness…
I've never freaked over post-40s Stanwyck or B&W Sirk so imagine my surprise at loving every second of this thing. There's pretty much no choice I don't love here, from Stanwyck's alternately vulnerable and razor sharp performance to Sirk's Ambersons-like free-flowing camera and noir compositions. I love that they cast mid-tier players in every role but Stanwyck's to make her seem even more out of place in this small little town, and I was tossed about by each new twist. The sets are big and delightful and Sirk's blocking and editing is top shelf. The music is great, the non-Stanwyck performances are all good, this thing just rules up and down the line. Superb.
Before Douglas Sirk made Imitation of Life, he cast an older Barbara Stanwyck in this small town melodrama that should be called Imitation of Success. And before Sirk was able to earn his lush, sweeping endings during his glorious late 50s run, Universal saddled him with a rushed and sappy ending that was forced upon him. Stanwyck is great tho.
It's hard not to get fascinated by Barbara even when the film is so cliche...Such an amazing actress!
The best episode of Riverdale so far!
"We're a big disappointment to each other, aren't we? You've got a mother with no principles; I've got a daughter with no guts." — Naomi Murdoch ( Barbara Stanwyck)
OK, it's "lesser" Sirk, filmed in B&W. But it's a densely packed 79 minutes of Sirk directing Stanwyck in an engaging period melodrama depicting stifling small town hypocrisy. The ending may have been a last minute change, but it didn't read to me as tacked on at all.
Regrets from the past return to haunt the present; polite society as a defense mechanism, but one that intrudes into the lives of others, infecting interpersonal relationships—the mutual tragedy of worrying too much what other people say
Particularly interesting as a companion piece with There's Always Tomorrow: both were directed by Douglas Sirk, star Barbara Stanwyck, and feature themes of suburban ennui and characters escaping from or returning to the routine of the domestic sphere. The primary difference between the two is the way their endings shift the respective films' perspectives on these themes: in There's Always Tomorrow, Fred MacMurray reunites with Barbara Stanwyck, an old friend and successful fashion designer, and is tempted to throw away the life he'd…
The way this film had absolutely no business making me all weepy... Might be because it's 12:56am at the moment and I'm damn tired but wow. It really struck a chord within me or something, huh??
Also, Barbara Stanwyck is officially an owner of a piece of my heart.
Aqui Sirk ainda não entrou plenamente em seu ciclo de obras-primas dos anos 50, mas já se encontra um parâmetro de mulher redentora já que a mãe não é castigada por desertar da família por tantos anos, uma abertura proverbial no código hollywoodiano já se esgarçando.
I’ve seen over half of Barbara’s filmography and oh boy this one just captures her beauty so well 🥺
I’m literally about to give the worst presentation on this tomorrow
Great set-up, Babs was was really good - not too sure about the resolution but this was still cute!
“What’s the matter. Don’t you bunny hug?”
“Oh I’ve given up sir. After all, I’m gonna be a freshman at Yale.”
Idk what Sirk had against Yale but I’m here for it!
Sirk shoots the family abode as if it were his Hamburg haus, finding elegance in furrows, grace in crevices, and pulchritude in frames balanced by the home’s interior design.
When Barbara Stanwyck showed up in the small town and all the locals fawned over her. Relatable.
Some of the acting was a little over the top. Maybe I'm not a fan of melodrama, but I did like the story.
(Viewing Format: 2020 Blu-ray, 1.37:1 HD)
Tremendo melodrama de Douglas Sirk. 1910. Naomi (la Stanwick) una actriz fracasada, regresa a Riverdale luego de haber abandonado a su familia diez años antes, luego de un affaire con un lugareño (Dutch, el rudo Lyle Bettger). Vuelve por una invitacion de su hija Lily, q quiere que este presente en su graduacion. Al llegar, el resquemor de los habitantes y un drama familiar q crece siguiendo los ritmos de las propias ambiciones de la familia y Dutch, siempre dispuesto a retomar su relacion con Naomi exactamente en el lugar donde quedo.
Un drama pueblerino que funciona muy bien al
calor de la gran actuacion de la Stanwick, el encanto juvenil de Lily (Lori Nelson) y una cierta moderacion en sobre actuaciones y colorinches (no es tecnicolor sino B&W) de producciones de Sirk posteriores, muy festejadas por sus fans pero para quien suscribe demasiado exageradas. Ya entenderé...
As in the big melodrams, there are always too many emotions to keep them inside your body. Naomi is constantly trying to hide from her past but still can't resist to make a big entrance into her old house.
I really liked that the rumors in the village and the comedy elements are just the background to tell another of Sirk's fascinating stories about people who are trapped into their permanent inner conflicts (actually, the textures of the film are really good in connecting with each other).
When Naomi looks at her daughter on stage, she is seeing herself and her daughter in one body. Desire is always the desire to be desired by someone else.
sirk and barbara do great, the rest of the cast and the script not so much. mia farrow's mom sounds exactly like mia
catsiopeia 1,303 films
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"And I don't believe that melodramatic feelings are laughable - they should be taken absolutely seriously." — Rainer Werner Fassbinder