Sanctuary

It is typically from William Faulkner's mind znd spirit this southern tale, supported by powerful acting, directing from a UK kitchen sink film maker: Tony Richardson. It is a rare film, even in France, despite the presence of Yves Montand. I don't understand why it is never shown, even in theaters or Tv channels. It is obviously a vitriolic painting of the Southern states way of life, an accurate description of how people are and behave, espacially in families between superficiality, lies, racism.... I just discover this film and am very satisfied. I think Martin Ritt could have done it. Lee Remick awesome and Brad Dillman excellent in a role that suits him like a glove.

"Sanctuary" was a racy novel written by William Faulkner. It is filled with all sorts of sleazy content...most of which I cannot put in my review since various words I'd need to use violate IMDB's standards. It was made into a film twice...once back in 1933 and it was infamous for being among the most inappropriate Pre-Code films ever made as well as this 1961 version. The 1933 film, despite its reputation, is actually an exceptional film and far less sleazy than the source material. The 1961 film is just fair...at best.

Lee Remick stars as Temple Drake and the movie starts with a black lady friend of hers being convicted and sentenced to death for murdering a baby. Later, you learn about Temple's life five years ago and how this relates, kinda, with the murder. The story includes a lot of sleazy content as well as Temple becoming a brutal man's extremely willing sex slave. Subtle it is not.

The book and movie vary in so many ways....which is odd. In some cases, the book is much more offensive (again, I cannot say how as IMDB would not publish my review if I did) and in others the film is very different and adds a lot of sleaze. The bottom line is that the movie, to me, wasn't very good and promoted a weird rape myth. I also didn't particularly enjoy it. To each his or her own.

Basic Southern Soaper. Bradford Dillman was not believable as romantic lead. Yves Montand came off like Herbert Lom in the movie with the talking ape that Jimmie "J.J." Walker and Dom De Luise made in the late 1980's. The only reason to see this one is if you are a Lee Remick fan and want to see her in period lingerie.

William Faulkner is viewed by critics in either one of two lights. Some consider him the finest writer ever produced in the South, which would be saying a lot, since it is generally accepted that the best American writers came from the South during this time period. Others would consider him just a master of soap. And make no mistake, the original novel is a classic of SSS (Steamy Southern Soap). Mr. Faulkner believed that what women really wanted was to be "mastered" i.e. raped by a "real" man i.e. one is completely calculating and cold-blooded. Louis Jourdan does a good job in that respect. Lee Remick also does a very good job as the rapee. We are then asked to believe that a new version of Jesus has come to the Deep South in the form of a portly middle-aged black woman, who is more than willing to go up on the cross and die for the sins of others, in order to facilitate their redemption. How noble. But, I am so sorry; I am not buying into this baloney with chitlins as relevant to the 21st century. First of all, the film does not follow Mr. Faulkner's novel, or the logic of the novel. Hollywood not only made this turkey once; they made it twice. Once before in 1933 (when it was more relevant), and again in 1961 (by which time it was completely irrelevant). As soap, the film is entertaining. But daytime TV soap is more logical than this stuff. Not recommended

I never liked William Faulkner, and I never liked Lee Remick, since I always saw her in the same kind of roles, as sinful victims. This film made me completely change my mind about both.

Not that the major credit is to either of them, but the real character here is Odetta as Nancy, the one person who takes responsibility and stands up to things and does something about it, actually interfering with destiny, at a full price which she pays willingly with heroic stoicism. Every scene in which she appears comes alive with a secret life of intensity, as if this presence of fate hanging in the air was self-evidently in her control. The most interesting scene is therefore when she (with the other fallen ladies) interprets the cards telling their fortunes.

It's a tawdry story, many scenes are downright disgusting, but Tony Richardson's direction is impressing as usual, and Yves Montand is the second best to Odetta. Another triumph is the very skilfully contrived music by Alex North. There is a wonderful scene in the dirty bar with all the wenches as they wallow in dancing Charleston. This is a story of the 20s with bootlegging as the chief subject of the plot. I can't help it, but I enjoyed it - and will remember Odetta for this forever.