The Savage Eye

1959
1h 8min

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Leonard Rosenman, Barbara Baxley, Ben Maddow, Sidney Meyers, Gary Merrill, and Joseph Strick in The Savage Eye (1959)

Agrega una trama en tu idiomaThis drama takes the form of a story told using documentary material as an intrinsic part of the narrative. In this journey through the dark side of 1950s urban life, the camera follows Judi... Leer todoThis drama takes the form of a story told using documentary material as an intrinsic part of the narrative. In this journey through the dark side of 1950s urban life, the camera follows Judith - a newly divorced woman looking for a fresh start - through the streets of Los Angeles... Leer todoThis drama takes the form of a story told using documentary material as an intrinsic part of the narrative. In this journey through the dark side of 1950s urban life, the camera follows Judith - a newly divorced woman looking for a fresh start - through the streets of Los Angeles as she encounters the strange denizens of the city, ranging from trendsetters to religiou... Leer todo

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6.9/10

371

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Ganó 1 premio BAFTA
- 2 premios ganados en total

Fotos27

+ 21

Opiniones de usuarios7

6.9371

Opiniones destacadas

10jsmog

The best film about LA street life ever made

That sounds like a heady comment, "best film about LA street life ever made," but I stick by it. Encapsulated in the rather thin plot, about a divorcee wandering the city, this is really a documentary on Los Angeles in 1959, and an amazing one at that. No one who lives here should feel they really know what it was like until they see this film, which includes footage of a New Year's celebration, the roller derby, a wrestling match, a strip club, and yes, the Second Street Tunnel again.

10taro-4

The Fifties: Not Quite the Cleavers

Anyone who thinks of the 1950s as a plastic people sort of place must see this marvelous film. Cast as a documentary about a woman the first year after her divorce, it is really a travelogue through the underside the 1950s, the part the Beaver Cleavers didn't want to see. In a deeper sense, it touched on the universal sorrows of a person cast loose from her contact with people (something I understand well as I go through my own divorce). It shows graphically that there is nothing sadder than a human being cast out of her or his group. So it's a tale specific to the late 1950s, but simultaneously universal in its assessment of the human condition.

10rollo_tomaso

Amazingly realistic depiction of life after divorce

One of cinematographer Haskell Wexler's earliest efforts that unabashedly reflects the influence of Edward Hopper and depressing street scenes. Barbara Baxley's heartfelt "everywoman" performance is nothing short of amazing. The supporting cast, led by Herschel Bernardi, is also magnificent. THe funny thing about this chronolgue of American hopelessness is that it is much better known in the European Art House circuit than here among the US indy crowd. It definitely should get more exposure; I give it 10 out of 10.

wilbrifar

fascinating footage, pretentious narrative

This film features wonderful documentary footage of Los Angeles circa 1959, and is a valuable artifact for that reason alone. Unfortunately, the woeful attempt to form the footage into a narrative featuring actress Barbara Baxley as a lonely woman wandering the city and sharing insufferably pretentious voice-over with Gary Merrill (pompously billed as "The Poet") make the film a chore to endure.

I enjoy seeing this kind of footage, showing me how a city I love looked in another age, but the grandstanding voice-over is a deal breaker. Except for the disturbing faith-healer sequence, which is the only portion of the film to use sync sound, this is a movie best enjoyed with the volume turned down and some good music playing, maybe a little jazz from the era.

10progenitor-1

Moving, Either Way.

I would either give this movie 1 or 10. It's stunning relevance to modern day life goes far beyond that of the divorcée. This contains amazing truths about humanity - too long denied by our face-value culture. It's relevance can be denied simply because of the issues it confronts - life, superficiality, death and everything in between. It's moments of striking ambiance are empty and fulfilling at the same time. Don't get me wrong - I hate this movie - but only because it explains a deeper truth that might be better off hidden if anything else. The absence of futility abounds in this epic, and I suggest you judge for yourself and make your remarks known.