L'amore dei giovani innamorati Deanie e Bud è sopraffatto dalle aspettative oppressive dei loro genitori e della società in una piccola città del Kansas nel 1928, che minacciano il futuro de... Leggi tuttoL'amore dei giovani innamorati Deanie e Bud è sopraffatto dalle aspettative oppressive dei loro genitori e della società in una piccola città del Kansas nel 1928, che minacciano il futuro della loro relazione.L'amore dei giovani innamorati Deanie e Bud è sopraffatto dalle aspettative oppressive dei loro genitori e della società in una piccola città del Kansas nel 1928, che minacciano il futuro della loro relazione.
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- Sceneggiatura
- Star
- Vincitore di 1 Oscar
- 3 vittorie e 7 candidature totali
Recensioni in evidenza
All of the twists and turns of the plot work, though ultimately Bud's family's economic setbacks and deaths and Didi's family's successes are mere soap operatic window dressing to the "A" plot line, which is the heart tugging reality of "nothing bringing back the hour of the Splendor In The Grass" for Bud and Didi, though both obviously still share the feeling. This is the kind of movie that doesn't get made in America now because of the non-commercial (but accurate) ending. Okay, they broached it in the less psychologically challenging CASTAWAY, but slapped on a happy ending afterwards.
SPLENDOR is not perfect; Bud's father (Pat Hingle) is a little overwrought and stereotypically drawn as the socioeconomic snob with castratingly ambitious designs on Bud's future. Bud's sister (Barbara Loden) is similarly too pat as the troubled, neglected child who does all she can to get daddy's disapproval. Still, any of the soapy aspects of the plot just fall away when the Beatty / Wood romance plot line gets cooking. They got the meat of this movie just right and the result is one of the most memorable and vivid examples of young romance ever set down on celluloid. Don't miss it!
The film begins with a similar theme to "Rebel Without a Cause" - that is why won't parents treat their children like human beings and really help them come to terms with becoming adults? But halfway through Inge does a clever turn-around and allows the kids to discover that their parents are human beings too, with all the weaknesses and frailties that go with being human. At the same time Inge portrays the coming of age of America as the joy of the roaring twenties moves into the gloom of the Depression.
The story is about how prejudice and blind morality destroys a great love - sex shouldn't be such a huge issue between two people who love each other, but the enormous pressures from outside to either do it or refrain from doing it cause confusion, pain and hurt. Who will ever forget Natalie Wood leaping naked from a bath screaming at her mother that she is not "spoiled"? Wood gives the performance of her life here, convincingly portraying adolescent love, a nervous breakdown, and the blossoming into woman-hood. Beatty too is splendid as the confused Bud. And both are so achingly beautiful!
The supporting cast is superb down to the smallest role. Barbara Loden is particularly memorable as Beatty's wild flapper sister, but Pat Hingle as his father, and Audrey Christie and Fred Stewart as Wood's parents are also unforgettable.
This is a resonant film that I believe will be more and more appreciated with the passing of time.
one of the most recognizable starts in the film history. its worth watching just for this opening sequence.
Beatty's first film. great find. scenes with his dad are wonderfully done.
Natalie wood - perfect. superb actress.
awesome end! Don't miss it.
Perhaps the one true problem I saw with this film is that the story doesn't go far enough. I understand they were already under fire from the censors for their portrayal of young people trying to repress sexual urges, but I'm sure Kazan could have come up with a way to show not just how Bud and Deanie felt about each other but to better examine the relationship with their respective parents. There are several scenes I thought and hoped would go even further in-depth to the problems being faced here, but instead it pulls back and we are left to wonder. If there is one thing that saves the movie it is the final sequence, showing what happens to the two lovers and what this means for them now. This is absolutely touching and beautiful and a great ending to an other wise uncomfortable story.
Still, to think of the film in retrospect is to take it seriously and understand that this is not just a story about two people in love at a time when everybody was telling them to not be. It is in fact, a symbol of the restraints that pull on any of us that have ever been involved seriously with somebody. It speaks to us not just as lovers but also as human beings desiring companionship and the great pains we will go through to make that happen.
Lo sapevi?
- QuizRight before shooting was set to begin, Pat Hingle suffered devastating injuries when he accidentally fell 54 feet down an elevator shaft in his apartment building. It would take Hingle over a year to fully recover from the accident. In the meantime, however, he decided to go ahead and do the film - he would simply incorporate his limp into the character. "I broke everything," Hingle said later. "I landed upright, so I broke hips and knees and ankles and ribs, and that sort of thing. That lurching walk that Ace Stamper has - that was as good as I could walk."
- BlooperDuring the bathtub scene, there is chunk of dry ice providing the "steam".
- Citazioni
Miss Metcalf: Now, what do you think the poet means by this line ? Deanie Loomis.
Wilma Dean: I'm sorry, Miss Metcalf. I... I didn't hear the question.
Miss Metcalf: Well, I know it's Spring, Deanie, but I must ask you to pay more attention. I quoted some lines from Wordsworth's Ode on Intimations of Immortality, Deanie. Did you hear them ?
Wilma Dean: I'm afraid not Miss Metcalf.
Miss Metcalf: Well, then I must ask to turn your text to page 380...
Wilma Dean: Yes.
Miss Metcalf: You read the lines to me. Stand, please.
Wilma Dean: "Though nothing can bring back the hour/Of splendor in the grass, glory in the flower/We will grieve not. Rather find/Strengh in what remains behind..."
Miss Metcalf: Now, perhaps you can tell me exactly what the poet means by such expressions as "Splendor in the grass" and "Glory in the Flower".
Wilma Dean: Well, I think it have some...
Miss Metcalf: Yes ?
Wilma Dean: Well, when we're young, we looks at thing very idealistically I guess. And I think Woodsworth means that... that when we're grow-up... then, we have to... forget the ideals of youth... and find strength... Miss Metcalf, may I please be...?
- Curiosità sui creditiThere is no end title; the picture simply fades to black.
- ConnessioniEdited into Histoire(s) du cinéma: Une histoire seule (1989)
- Colonne sonoreAuld Lang Syne
(1788) (uncredited)
Traditional Scottish music
Lyrics by Robert Burns
Sung on New Year's Eve
I più visti
Dettagli
Botteghino
- Lordo Stati Uniti e Canada
- 8.720.000 USD
- Tempo di esecuzione2 ore 4 minuti
- Colore
- Proporzioni
- 1.85 : 1