Désir de femme

A failed actress returns to the family, the lover and the small town she abandoned years earlier and sets tongues wagging anew. Does it rank up there with ALL THAT HEAVEN ALLOWS or IMITATION OF LIFE? No, not really. It all wraps up too neatly (the "happy" ending was forced by the producer), Lyle Bettger has the charisma of a toilet brush (why would Barbara Stanwyck ever fall for this lummox?) and it's pointlessly set in the early part of the century. The only rationale I can think of for the latter is that Stanwyck's lack of success would be harder to keep a secret in modern times, but it takes the edge off and makes the whole thing a bit too quaint. However, it's not really a dud, either. It's a tight script, Stanwyck is riveting as always, and Sirk's eye for brilliant framing is hard at work. It makes for a quick, easy watch with some slight subversiveness in its commentary on small town gossip and hypocrisy.

Although not in the same class as Douglas Sirk's major melodramas, "All I Desire" has many of the traits that would be developed in these later works. As such it is essential viewing for fans of Sirk's films. His use of color is legendary so much is lost by this being filmed in black and white, the result of a tight fisted Universal Studios.

Fans of Barbara Stanwyk should not miss it either. Stanwyk is one of a handful of actresses who simply never gave a weak performance. Under the direction of the likes of Wilder or Sirk, she's a compelling screen presence. Sirk had great admiration for Stanwyk calling her "one of the best in town". He used her a few years later in "There's Always Tomorrow" which remains his greatest unrecognised opus. There his criticism of the American family values is particularly cutting, whereas "All I Desire" has an altogether more forgiving view of small town narrow mindedness.

Sirks films are always worth watching. They are extremely well crafted with each shot carefully thought out. Nothing is left to chance. Those who dismiss the melodrama as an inferior genre would do well to take a close look at his body of work. "All I Desire" makes a good starting point.

Douglas Sirk was just hitting his stride in depicting family melodramas with this 1953 feature, produced like all his later major Universal International Pictures Movies in the 50's by Ross Hunter. Although the period setting of turn of the century America might throw the viewing a little off kilter, the familiar Sirk themes of small-town morality, complicated relationships and inter-family tensions are present and correct here.

Barbara Stanwyck is the formerly disgraced wife and mother of meek-mannered Richard Carlson's school teacher and his three children, all with a different viewpoint of Stanwyck's actions years ago when she left them for a life on the stage after a scandal involving another man about town. When the middle daughter, an aspiring actress, sends her adored and revered mother a request to attend her performance in the annual school play, Stanwyck's character, in truth, a hack journey-woman struggling for work, decides to return to her old hometown, knowing her previous infamy will make her the centre of attraction.

All sorts of dynamics are then played out between Stanwyck, her husband and their children, complicated further when the spurned "other man" returns for another bite at the cherry and even if the ending is perhaps unnecessarily upbeat, it doesn't denigrate too much what has gone before.

La grand dame Barbara is in top form as the conflicted central character around whom the whole action revolves, while most noteworthy in support are her "The Big Valley" future co-star Richard Long as her unforgiving oldest daughter's fiancé, at least until he wears his goofy "big R" college shirt near the end and Lori Nelson as the star-struck younger daughter.

Sirk's fluid camera work, particularly his ability to frame and light a scene as well as coax sympathetic and believable work from his cast are well in evidence here. "All I Desire" may lack the emotional wallop of some of his later films and could have dug a little deeper into some of the motivations and desires on display here but is nevertheless a fine stand-alone watch as well as a telling harbinger of better things to come from the producer-director team setting out here.

Barbara Stanwyck gives this early Douglas Sirk-directed, Universal-produced soap just the kick that it needs. Not nearly as memorable as Sirk's later melodramas, it's easy to see by watching "All I Desire" where Sirk would be heading artistically in the next few years. Stanwyck is a showgirl who returns to her family in smalltown, U.S.A, after deserting them a decade earlier. Her family and community have mixed emotions in dealing with her shocking return. Some of the cinematography is amazing, and Stanwyck is tough-as-nails and really gives this film a shot of energy. Overall, a fairly good show.

Yes, I call this a perfect movie. Not one boring second, a fantastic cast of mostly little known actresses and actors, a great array of characters who are all well defined and who all have understandable motives I could sympathize with, perfect lighting, crisp black and white photography, a fitting soundtrack, an intelligent and harmonious set design and a story that is engaging and works. It's one of those prime quality pictures on which all the pride of Hollywood should rest, the mark everyone should endeavor to reach.

Barbara Stanwyck is simply stunning. There was nothing this actress couldn't do, and she always went easy on the melodramatic side. No hysterical outbursts with this lady - I always thought she was a better actress than screen goddesses like Bette Davis or Joan Crawford, and this movie confirmed my opinion. Always as tough as nails and at the same time conveying true sentiments. It is fair to add that she also got many good parts during her long career, and this one is by far the least interesting.

The title fits this movie very well. It is about desires, human desires I think everyone can understand. Actually, no one seems to be scheming in this movie, all characters act on impulse, everybody wants to be happy without hurting anybody else. The sad fact that this more often than not leads to complications makes for the dramatic content into which I will not go here.

I liked what this movie has to say about youth, about maturing and about the necessity to compromise. The movie I associate most with this one is Alfred Hitchcock's Shadow of a Doubt, it creates a similar atmosphere of idealized and at the same time caricatured Small Town America. The story has a certain similarity with Fritz Lang's considerably harsher movie Clash by Night, made one year earlier, where Stanywck stars in a similar part. I can also recommend it.