Desiderio di donna

"All I Desire" from 1953 is a drama from Douglas Sirk, filmed in black and white and starring Barbara Stanwyck, Richard Carlson, Maureen O'Sullivan, Lori Nelson, Lyle Bettger, Billy Gray, and Marcia Henderson.

Stanwyck plays an actress, Naomi Murdoch, who at this point in her life, isn't very successful. Some years earlier she was living in a small town and left her husband and chldren. The family maid keeps her posted on how everyone is doing.

One of her daughters, Lily (Nelson) is an aspiring actress who is going to be appearing in her high school play. She invites her mother, who is encouraged by the woman sharing her dressing room to attend.

With some new outfits, she comes back into town with much hoopla. Her older daughter (Henderson) isn't happy to see her; her son (Gray) really doesn't remember her; and her husband wonders what she's doing in town.

It doesn't take long to find out why Naomi left town - she was seeing a man Dutch Heinemann (Bettger) and got out before there was too much of a scandal. Now that she's back, her husband (Carlson) realizes that he still loves her, and she him. He wants her to stay. Lily wants her mother to take her to New York. And Dutch wants to pick up where they left off.

Good film about small town nosiness and gossip with a wonderful performance by Stanwyck, who really drives the film. This is from Universal Studios, so frankly, she's really the only true star in the movie and lacks the usual Sirk touch of color.

The musical score is overwrought and very distracting.

This film is about fighting for what you want, following your heart, and realizing the true meaning of success. "All I Desire" brings home these themes very well.

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.

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.

Barbar Stanwyck, Maureen O'Sullivan, Richard Carlson and Lyle Bettger make up the leading cast in this Ross Hunter-produced and Douglas Sirk-directed film. Stanwyck goes back home to her small town and the family she left behind, after receiving a letter from her oldest daughter, who's starring in a school play and graduating from high school, and who asked her to attend. Stanwyck is an stage actress, but hasn't found much success, and when she hits the small town, gossip flies. Her son just happens to be fishing buddies and best friends with Lyle Bettger, a guy who had an affair with Barbara, before she up and left. And, Miss O'Sullivan is on hand as a love interest for Richard, even though Barbara's new presence puts a fly in their plans. Does he still love Barbara? Does Barbara still love Richard? And, Lyle Bettger is all upset with Barbara for leaving him. That pretty much sets up another melodramatic story, courtesy of Hunter and Sirk.

The only critique or negative thing I have about it, is that it takes itself too seriously too early in the picture and gets really melodramatic really fast, instead of easing into the melodrama, and the dramatic events evolving and complicating their lives. The not-so-subtle score also adds to the dramatics. Bettger and Carlson seem to be overacting, especially Carlson, who appears to be uncomfortable in this movie. (In other words, they and the movie seem to be overdoing it a bit.) But, as we get to the second half and more complications ensue, this begins to find its heart and the dialogue is a lot more believable and realistic. Carlson and Bettger appear to have settled into their roles. Stanwyck is always great, as usual. The only other question is why did Richard Carlson get this role, instead of someone like George Brent or a more charismatic leading actor? But on the whole, you will definitely enjoy this film and be glad you've discovered this unknown melodrama. It can be found on a new Barbara Stanwyck DVD collection out in 2010. I could watch it again right now, and this cold weather makes me want to snuggle in for a nice quiet Saturday afternoon with Barbara Stanwyck. Who could ask for anything more?