La bestia umana

"Human Desire" is NOT one of Fritz Lang's masterpieces. Though it has its moments, it ultimately comes off as a second-rate work. A remake of Jean Renoir's 1938 "La bete Humaine" starring Jean Gabin, "Human Desire" is less successful than Renoir's adaptation of the Zola novel, but when all things considered, it is not bad, and is filled with some interesting geometric images & visuals. The film turns out to be gloomy, often bleak melodrama that has a striking affinity with Billy Wilder's "Double Indemnity" in its plot, dealing with a married woman (Gloria Grahame) trying to get rid of her bland husband (Broderick Crawford) through the help of a train engineer (Glenn Ford). If you stop concentrating on the melodramatic plot and focus on Lang's lovely architectural compositions, "Human Desire" becomes quite engrossing picture, on par with "The Big Heat", Lang's previous film noir with Grahame & Ford. From the first image to the last, the scenes of railroad tracks are masterfully handled: we see a series of precise lines and converging tracks moving forward. Moreover, Grahame and Crawford's rooms in their working class house are characterized by a series of squares, boxes, rectangles to conjure up a nightmarish vision of fate and destiny.

Also, it is worth noting that in the same house we see the appearance of television for the first time in Lang's films. Lang will later explore the dangers of media manipulation in his last two American films: "While the City Sleeps" and "Beyond a Reasonable Doubt".

It is interesting to compare Jean Renoir's La bête humaine (1938) with Human Desire as they both are based on the same novel by French literature heavyweight Emile Zola. Whereas in Renoir's movie the train and its engineer seem to be wild beasts which have to be kept under control by tight regulations, Lang's engineer is a regular guy who has returned from the Korean war and just yearns to be back on the tracks again. He clearly wants order, regularity and predictability in his life, the very things which seem to destroy the Broderick Crawford character who appears to be the real beast in Human Desire. His counterpart in the Renoir movie is an authority figure in the railroad system who more than anything else wants to keep up a front of respectability.

Gloria Grahame's character is less a femme fatale, like cocky Simone Simon in La bête humaine, than a true victim who has suffered on the hands of different men. She really looks exhausted and seems to have given up on life. In the vain hope that war experience has awakened the beast in the train engineer, she succeeds in rousing some passion in him, but it is not enough for his murdering her husband (who really is a bad character for whom it is hard to feel any pity). The final scene very much looks like her executing a carefully planned suicide-scheme which also definitely brings down her evil husband.

Both movies show that the layer of civilization is pretty thin. Lang's Human Desire distinguishes itself for being a careful probe into the social conditions of the USA in the first part of the 1950ies which is also evident in the careful set design. On several occasions the engineer talks about his war experiences which led him to have new esteem for the merits of order and civilization. It is an important item in Human Desire. Up to you to decide if this makes it a pro or an anti war movie.

The picture is based on the Emile Zola's novel ¨La bete humaine¨. A mild- mannered and essentially decent ex-soldier (Glenn Ford) working as unhinged trainman becomes romantically involved with a mysterious , alluring but heartless and vicious femme fatal (Gloria Grahame) . He lives temporarily at home with an old friend man (Edgar Buchanan) . She is unhappily married to a tough and brutal hubby as ever ruined (Broderick Crawford). They then are involved in a mutually destructive affair . She managed and is convinced for her unwanted husband has his job back , but he has been fired , then the problems and subsequently murder are cropping up , but she plots other malignant purports .

Columbia Pictures Film production, puts all the force of the screen into a challenging drama of furious passions and though there're pretty dialog and little action is amount entertaining . It's a psychological , dark melodrama about fatalism , duplicity , pessimism and human passions . Stylish , well designed and compelling drama , although is sometimes annoyingly shrill . Love , hatred , killing , vengeance indeed figure strongly in this brightly seedy portraits of low life as Fritz Lang did also in ¨Big Heat¨ (1953) equally with Ford and Grahame . The well-designed atmosphere elaborately recreated in railway , trains , stations is entirely convincing throughout . Wonderful performances by the entire casting . Gloria Grahame (married at the time to Nicholas Ray) as manipulating woman who subtly destroys them , winning yet another awesome acting with a smouldering predatory and absolutely hypnotic interpretation in her account of the domineering that occurs from start to ending . The film contains stunning cinematography by classic cameraman Burnett Guffey . The motion picture is narrated with agility and intelligence by the great director Fritz Lang . This movie along with ¨Scarlet Street¨ are remakes of Jean Renor films . In fact ¨the Bete Humaine¨(1938) by Renoir and with Jean Gabin and Simone Simon is considered a superior version .

Fresh from their exertions in Fritz Lang's superheated The Big Heat, Glenn Ford and Gloria Grahame (joined by Broderick Crawford) reunite for the director's recension of Zola's La Bete Humaine. This time, the heat is not so explosive, but this film's dense, acrid smokes smoulders away to the point of choking claustrophobia. Like Hitchcock's Strangers on a Train, the film opens with us criss-crossing a maze of railroad tracks, and the locomotives, cars and switching yards are never far away in this tale of abuse, frustration, adultery and homicides (plural) somewhere out in the prairie heartland. Grahame, when bad, is always good, but she's never been badder or better than here, as the young wife of the violently jealous Broderick Crawford. Glenn Ford, just mustered out of Korea, gets his brakeman's job back and chugs right into the middle of this marital discord. Lang tightens the screws slowly and expertly for the full 90 minutes of this midwestern nightmare (the final words of which, unspoken, are: "Trenton makes, the world takes," read backwards on a railway trestle). This is a canonical work of film noir, left -- like too many others -- in unviewed obscurity. It's every bit the equal of The Big Heat or Scarlet Street.

Well-done film noir about a railroad engineer, Jeff Warren (Glenn Ford), who gets mixed up with a beautiful femme fatale (Gloria Grahame) who comes complete with husband who has murdered a man in a train car in an act of jealousy - and happens to be one of Warren's co-workers. Meeting her on the train just after the murder, kissing her within moments of meeting, it seemed like, our railroad man is soon embroiled in a love affair with this woman, who can't break away from her husband as he is holding a piece of blackmail over her head involving the murder.

This film is quite a good one, boosted up considerably by the great performance given by Gloria Grahame, who brings a sad vulnerability to her character and really makes this film. Broderick Crawford is also very good, as the angry, murderous husband and Glenn Ford comes across as the handsome, strong, quiet type which completely suits his part - well done acting all around for this. This film also features interesting photography and lighting typical of this style of film - I especially like the way the train scenes are shot, with the camera strapped to the front of the train, giving a first-person ride along the railroad tracks. A gripping film with a plot that kept me interested from beginning to end.