Herbststürme

Even 50 years after it was released, this movie is shocking. The betrayal is appalling. The incest is not romanticized or played for any sort of laughs. The physical violence is both subtle and horrifying: We don't quite see what Cliff Robertson does to typist Joan Crawford but we get the idea very clearly. And it is shocking almost beyond words.

Crawford does a fine job. She may have been better in a couple other movies -- her signature, "Mildred Pierce"; "Sudden Fear." But as entertaining as "Mildred Pierce" is and as beautifully made as "Sudden Fear" is, I'd choose this as the best movie in which she appears (if possibly not her single best performance.) Cliff Robertson is perfectly cast as the handsome young man who woos her. He IS handsome. But this character is troubled, and Robertson plays that brilliantly. This is the movie for which he should have won as Oscar.

Lorne Greene is a sneering villain. He's even farther from "Bonanza" here than Raymond Burr was from "Perry Mason" in the many film noir outings that predated that series.

Vera Miles turns in a fine, evil performance too. She did well for Hitchcock but I think this is the best I've ever seen her.

Ruth Donnelly is Crawford's landlady and pal. She is cast against the type she played in her standard movie. And she's very good. I'm not entirely sure the slightly light touch she gives the character is right in this context. But Aldrich knew what he was doing; so it must be.

I saw "Whatever Happened to Baby Jane" when it first came out. I was a child and had never seen Bette Davis or Joan Crawford before. I was totally confused by the whole thing. In later years, I've seen it again and it's fun.

But though it shares one star with Autumn Leaves," "Autumn Leaves" is closer to Aldrich's greatest picture in style: "Kiss Me Deadly." "Autumn Leaves" seems like a high toned soap opera on the surface. It's about an older woman who allows herself to fall in love. Etc. But that's not what the movie is. It's dark and it's deep.

I can't quite figure out whether it could have been better with a less turgid actress. In a way, some of its themes presage those of "Room at the Top." Signoret could have blown us away in "Autumn Leaves." So could Jeanne Moreau. But would the movie have been as believable? Maybe not. It may be just about perfect as it is.

There's something very rewarding about discovering a well-acted mid-20th century movie you never heard about, in this case, Autumn Leaves starring Joan Crawford and Cliff Robertson, which I saw on TCM. In some ways dated, this movie shines with excellent acting by the two leads - one a star of the film noir era, and the other, a future star making his film debut. The story involves a romance that work-at-home secretary Joan Crawford only reluctantly embraces because her lover is a much younger man. Cliff Robertson falls head over heels in love with her and they marry. Of course, you know the wheels are going to come off this match. The young man becomes traumatized by the appearance of his father, played by a distinguished looking but thoroughly evil Lorne Green and his femme fatale, Vera Miles. Crawford is confused by the bizarre situation and her husband suffers a complete mental breakdown. There is some surprisingly strong language and domestic violence for a movie of the 1950's. Crawford and Robertson deliver strong performances, particularly as the movie moves to its climax. For his first movie, Robertson shows surprising range and strength as an actor. Presented with a husband who is now unhinged, Crawford, takes action to help him, knowing it might have unintended consequences for both of them. Directed by Robert Aldrich, this is a movie that keeps its momentum and doesn't disappoint. Highly recommend.

(A line from one of the characters of the movie)

Wow! I watched this on TV on a lark - the movie had a "To Be Announced" and no description, so I didn't know what to expect; I didn't know the story line. My only previous experience with Joan Crawford as an actress was "Baby Jane", and I really don't know much about her.

This was an unexpected treat - the acting throughout is superb, and since it is B&W, the use of dramatic lighting and use of unusual camera angles adds depth and drama to the story.

When Millicent begins to realize that Burt is a pathological liar, it made me want to say, "Run, girl, RUN!". But then, the villains appear on the scene (Vera Miles and Lorne Greene), and the awful truth is revealed. (BTW, I only knew Greene as Ben Cartwright, but when he was younger, he was HOT! And, that VOICE! But, I digress...). One of the best lines - that made me laugh out loud - that other viewers have mentioned, "And YOU....you SLUT!" - is so good because of how Crawford delivers it. Such dignity.

It is a true phenomenon that when a mind is faced with an unspeakable trauma, the creation of a 'fantasy life' can be created to make the trauma more "manageable". Burt's breakdown is understandable, but the horrific truth of how most psycho-therapy was conducted back in the day (drugs and electro-shock therapy) makes the sanitarium scenes difficult to watch.

But...the deep strength of Millicent is the true face of love. To love another so much that she wanted Burt to have a happy future, even if it didn't include her, is what this reviewer sees as the very heart of love. Although actors are trained to portray a wide range of characters and emotions, I believe that a woman must be truly strong to be able to portray Millicent - and that gives one insight as to Joan Crawford's own character.

And, how does it end? That is for you to find out. Watch it - it's gripping, entertaining, engaging - and the kind of movie you can watch with someone special. And, watching how they respond to this movie will give YOU some insights!

Saw 'Autumn Leaves' as somebody who admires Joan Crawford, 'Mildred Pierce' being a prime example of what made her such a good actress. It was interesting seeing Cliff Robertson in an early role and a large part of me was very intrigued in seeing how he would fare alongside the more experienced Crawford. Also seeing how one of Robert Aldrich's earlier films would rank with his other films. Melodrama does vary in execution and always has done, but there has never been any personal bias against it as there are some great ones out there.

'Autumn Leaves' is not going to connect with everybody, am aware that some respected critics and fellow prolific reviewers didn't care for the film. For me though, it was very good and a near-must see for anybody that likes Crawford, Robertson and Aldrich. Can totally see why Crawford herself thought highly of the film and her reasoning mirrors my feelings on it (also agree with her that it should be better known), and to me it is among Aldrich's better films if not quite in the same league as the likes of 'Whatever Happened to Baby Jane' and 'Attack'.

It is not a perfect film. With my biggest reservation being the ending, which for me and some others was too abrupt and tonally was completely at odds with what came before. For a quite dark story to end on such a jarringly pat note was a shame.

Maybe the film is a little too long as well.

Crawford on the other hand is in a role that she was born to play and pulls out all the way. Robertson gives a very distinguished turn in a not easy role to play and actually appreciated that he doesn't go over the top, a big trap for a character that changes as much as he does here. He works very well together with Crawford and personally didn't think that they were too much of a mismatch together in age and acting style and that their styles of acting didn't clash too much, actually thought that the more understand acting of Robertson contrasted well with Crawford's. Lorne Green and particularly Vera Miles are very good in support and Aldrich directs beautifully with material that he is completely at ease with, thematically this is already classic Aldrich.

Visually, 'Autumn Leaves' is handsomely mounted and photographed with a real sense of atmosphere. The music is haunting and sears in intensity, without intruding too much. The script is soap opera but intelligently written and naturally flowing soap opera that doesn't get too overwrought or heavy-handed. The story deserved a much better ending, but the psychological aspect is hard-hitting and pulls no punches (regardless of any debate on how well it has dated) and it is very intense and moving.

On the whole, very good with a lot of things that come off greatly. 8/10

Trashy delight about the ill-fated marriage of a naïve middle-aged woman and an enigmatic younger man. Director Robert Aldrich worked surprisingly well with a latter-day Joan Crawford, taming the Hollywood queen bee and bringing her volatile personality down to scale. This gusty, absorbing nonsense gives Crawford a solid role as a single, stay-at-home typist who falls for shifty Cliff Robertson, a pathological liar. Florid melodrama filled with overripe dialogue, overheated set-ups (like the infamous thrown typewriter), fluttering hands and fluttering eyelashes. Aldrich keeps it all simmering nicely, and the entertaining results are certain to please soap buffs. *** from ****