Begierde unter Ulmen

If you imagine yourself in a 1950s New York theatre surrounded by American anti-Communists wearing narrow ties and wanting to be cultured, you'll be able to connect with this wooden, would-be Greek tragedy. If not, don't go there, and get on board with TV's the Cartwrights, who seem to inhabit identical territory and period because they were performing almost simultaneously for an audience thousands of times bigger. It's worth watching for Antony Perkins, who is superbly mixed-up as an anti-authoritarian rebel determined to secure ownership of the family farm, but driven a bit strange by anxiety, paternal neglect and the early death of his mother. See him exit his lover's garden gate, pirouetting as he goes; or spinning in place before rising from his bed. It's so graceful you barely notice. He's like an 11 year-old, changing his mind every five minutes, madly self-conflicted as a result of his irresistible lust for the maid, sorry, his father's third wife. Sophia Loren is powerful in this picture, if you can follow her English. She really occupies her part and fills her space. The passion between her and Perkins would be almost believable, if it weren't expounded in this stagey setting, with neither Loren nor Perkins exposing any skin, which just adds to the sense of attending a school play. Actually, the basic material of Desire Under The Elms is purely adult, but somehow this production renders it about as sinful as Agatha Christie.

Anthony Perkins and Sophia Loren are absolutely gorgeous in this ca. 1840 "Western". That alone, however doesn't help a ridiculous story, with countless historically incorrect elements.

Byrl Ives is convincing as the 70-something tyrannical patriarch, an egomaniac who swears to see his 100th birthday. His wild dancing at a party he gives for his neighbors will make anyone take notice (this guy is SEVETY SIX?). Always mumbling Bible verses, he demands respect, while driving sons and friends away with his self-righteous rantings and emotional cruelties.

The love affair between Perkins and Loren at first appears absurd, but becomes believable near the end. There is plenty of drama, but not enough to feel good about. Clearly written for the stage, this story was dated even when it was filmed. Perkins whistles "My Bonnie" in the 1840s, although the song wasn't composed until 1882.

Critics knocking Sophia Lorens "command of the English language" are rather petty. I found her English flawless and completely audible. As a Neapolitan, Loren speaks a distinct dialect that often had to be dubbed into "proper Italian". Her "accent", however, hardly affects how she speaks English. As a first Generation German American, I can appreciate the efforts of those who learn English as a second, or even third or fourth language.

"Desire Under The Elms" is a drama (or even a tragedy) in the Classic Sense. For my enjoyment is was missing a logical story and an overall "pay off" for the time invested. Fans of the stars won't want to miss it, others, however, tune in at your own risk!

Loren and Perkins smoke up the screen in this black and white, well-done love story. It is fascinating to see how quickly an all-American father and son can be weak for the same foreign woman. Sophia is wonderfully foreign, very talented in an early role. Anthony Perkins and she have surprisingly strong chemistry, the first kiss between them is one of the hottest kisses in the cinema. Burl Ives does an outstanding job as the miserly father who nabs himself a young pretty foreign wife. Sophia makes you believe she is married to Burl, she represents many a foreign wife who have married for economy. Anthony Perkins shocks you with his hatred and rivalry with his father.

When "Desire Under the Elms" came out at the end of the 1950s, it was dismissed by critics who were more interested in parading their education and artistic credentials than in assessing the movie sensibly. In particular, they commented on how far the film fell short of the original stage play. Nearly fifty years later, a more balanced perspective is possible.

Regardless of how it compares with the theatrical original, "Desire Under The Elms" works successfully as a dramatic movie. There is real tension as the drama unfolds, and the audience feels a sense of horror when it realises what Anna (Sophia Loren) is going to do to prove her love. The resolution is genuinely tragic, and this is reinforced by the fact that the two lovers were unlikable people until love entered their lives and gave them humanity and consideration for others.

The acting is quite good all round, and presumably much of the credit goes to the director Delbert Mann. (Some of his other films during this period were also well-acted: "The Dark At The Top Of The Stairs"/"The Bachelor Party"). Sophia Loren is a real surprise. I have never worshipped at her throne, but she is excellent in this movie, playing a greedy, calculating woman who marries a much older man merely to have a comfortable home. At the beginning, her venality and disregard for other people make her highly unpleasant, and she is not particularly attractive physically either. As love gradually dominates her, she becomes physically very attractive - her fans, no doubt, will say she becomes beautiful - until the circumstances she has helped create imprison her. Then once again, her physical allure subsides and she becomes gaunt and drawn. Obviously this play with Sophia Loren's looks was a joint effort, and presumably the camera department, costume department and make-up department all deserve credit.

Daniel L. Fapp's Vista-Vision cinematography is crystal clear and a major asset. The film's only big failing is the blatant artificiality of the back drops. "Desire Under The Elms" was obviously made in a studio.

Ephraim Cabot is an old man of amazing vitality who loves his New England farm with a greedy passion. Hating him, and sharing his greed, are the sons of two wives Cabot has overworked into early graves. Most bitter is Eben, whose mother had owned most of the farm, and who feels who should be sole heir.

This is a great cast all around, with Burl Ives and Sophia Loren. But Anthony Perkins is the star of the show and really excels as a conflicted son and love interest. Over the years, he has become increasingly synonymous with Norman Bates, but films like this show he is more versatile than his later horror career suggests.

I wonder how audiences viewed the morals of this film in the 1950s. While not quite incestuous, there is a very questionable morality. If not from the son, at the very least from a wife who is romantically linked to two generations of the same family.