Desejo Atroz

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.

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?

Saw this film yesterday for the first time and thoroughly enjoyed it. I'm a student of screen writing and I loved the way the minor characters intervened just when something pivotal/climatic happened in a scene.

I thought the dialogue was very sharp and the premise of story is rather shocking - at one particular point Barbara Stanwyck is openly flirting with her daughter's boyfriend; AND rekindling some passion in her husband whom she hasn't seen in ten years; AND with the gunshot signal 'two shots and then one' she hooks up with her old shag mate Dutch (the reason she left town in the first place!) ALL AT THE SAME TIME! The moral majority must have been totally incensed when they saw this flick back in the 50's.

Love the costumes and cinematography and the straight from the hip dialogue - just to watch Barbara Stanwyck and Co doing the 'Bunny Hug' is good enough reason to rent this film on DVD.

One of the best films from that period I've seen in a long time.

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.

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.